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Pragmatic Nurturer

Collection Creator:
Woman's Building (Los Angeles, Calif.)  Search this
Container:
Box 12, Folder 18
Type:
Archival materials
Date:
1981
Collection Citation:
Woman's Building records, 1970-1992. Archives of American Art, Smithsonian Institution.
See more items in:
Woman's Building records
Woman's Building records / Series 2: Education Programs / 2.2: Feminist Studio Workshop
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94d8ad28b-0d58-49ce-88f1-5de8836b8795
EDAN-URL:
ead_component:sova-aaa-womabuil-ref559

03/12/1987 - Colloquium Paper "Korean Pragmatism in Confucian Guise: Chong Tasan as Modern Hero" by Kyong-Dong Kim

Container:
Box 1 of 3
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 94-041, Woodrow Wilson International Center for Scholars. Asia Program, Records
See more items in:
Records
Records / Box 1
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa94-041-refidd1e576

Pragmatic, Phonological constraints on Dakota accent (review request)

Collection Creator:
Rankin, Robert Louis, 1939-  Search this
Container:
Box 31
Type:
Archival materials
Date:
1985
Collection Restrictions:
The Robert Rankin papers are open for research.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Computer disks are currently restricted due to preservation concerns.

Access to the Robert Rankin papers requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Robert Rankin papers, National Anthropological Archives, Smithsonian Institution
See more items in:
Robert Rankin papers
Robert Rankin papers / Series 6: Writings
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3212f6240-03cf-4d23-82cb-ad8b74a63d82
EDAN-URL:
ead_component:sova-naa-2014-16-ref337

7 Daring Animal Migrations | Smithsonian Channel

Creator:
Smithsonian Channel  Search this
Type:
YouTube Videos
Uploaded:
2021-12-04T16:30:03.000Z
YouTube Category:
Entertainment  Search this
See more by:
smithsonianchannel
Data Source:
Smithsonian Channel
YouTube Channel:
smithsonianchannel
EDAN-URL:
edanmdm:yt_DbIa1nheYEA

The Pragmatic Way African Buffalos Organize Their Herds

Creator:
Smithsonian Channel  Search this
Type:
YouTube Videos
Uploaded:
2019-08-06T15:30:05.000Z
YouTube Category:
Entertainment  Search this
See more by:
smithsonianchannel
Data Source:
Smithsonian Channel
YouTube Channel:
smithsonianchannel
EDAN-URL:
edanmdm:yt_qLqLpczbOnQ

30c John Dewey single

Title:
Scott Catalogue USA 1291
Printer:
Bureau of Engraving and Printing  Search this
Depicts:
John Dewey, American, 1859 - 1952  Search this
Medium:
paper; ink (red lilac); adhesive / engraving
Type:
Postage Stamps
Place:
United States of America
Date:
October 21, 1968
Topic:
Education & Teaching  Search this
U.S. Stamps  Search this
Object number:
1980.2493.5570
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8ff58fccf-d047-4b51-8f91-7d9ad5235d44
EDAN-URL:
edanmdm:npm_1980.2493.5570

Outgoing Letters

Collection Creator:
Kraushaar Galleries  Search this
Extent:
9 Linear feet (Boxes 1-9)
Type:
Archival materials
Date:
1920-1945
Scope and Contents note:
This series documents John Kraushaar's management of the galleries and the increasing involvement of Antoinette Kraushaar from the 1930s on. Kraushaar Galleries wrote regularly to Gifford Beal, Charles Demuth, William Glackens, Gaston Lachaise, Henry Schnakenberg, and John Sloan during these years, and the records document the galleries' faith in, and growing popularity of, these artists. Correspondence with Charles Prendergast documents the galleries' representation of work by Charles and his brother, Maurice, and letters to Edith Glackens record the galleries' continued representation of William Glackens following his death in 1938. John Kraushaar's letters to Guy Pène Du Bois record his commitment to the artist's work but also his exasperation with Du Bois's handling of his financial affairs. The increase in letters to a growing group of artists including Russell Cowles, William Dean Fausett, Vaughn Flannery, John Hartell, John Heliker, Boardman Robinson, and Esther Williams in the later portion of the series reflects the development of the galleries' commitment to American art.

John Kraushaar's letters to Preston Harrison provide insight into his artistic tastes, his sense of humor, and his pragmatic attitude toward art dealership. Kraushaar's letters to Duncan Phillips document the many transactions that took place between the two men as Phillips was developing his collection of American art in Washington, D.C.

Letters regarding loans and sales to prominent institutions and museums such as the Art Institute of Chicago, Carnegie Institute, Cleveland Museum of Art, Museum of Modern Art, and Whitney Museum of American Art indicate the caliber and importance of the galleries' inventory during a crucial period in the history of American art.

John Kraushaar's dealings in European art are documented most extensively in his correspondence with British art dealers Alex. Reid & Lefèvre, Ltd. and Ernest Brown and Co., French dealers Etienne Bignou, Paul Guillaume, and J. Allard, and the Dutch company Franz Buffa & Zonen. The Kraushaars also dealt extensively in European art with Ottawa dealer J. E. Northwood of James Wilson & Co. and in European and American art with Albert Roullier Art Galleries and Chester H. Johnson Galleries in Chicago, and Dalzell Hatfield Galleries in California.

Additional scattered outgoing correspondence dating from 1920-1945 may be found in Series 6.1.
Arrangement note:
Records in this series are arranged chronologically and alphabetically by correspondent.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. A fragile original scrapbook is restricted. Contact Reference Services for more information.
Collection Rights:
Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kraugall, Series 1
See more items in:
Kraushaar Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c6ec2f4e-5dd7-496f-bd0f-078bdd5c730e
EDAN-URL:
ead_component:sova-aaa-kraugall-ref19

Art effects image, agency, and ritual in Amazonia Carlos Fausto ; translated by David Rodgers

Title:
Image, agency, and ritual in Amazonia
Author:
Fausto, Carlos  Search this
Translator:
Rodgers, David (Translator)  Search this
Physical description:
1 online resource
Type:
Electronic resources
Electronic books
Place:
Amazon River Region
Date:
2020
Topic:
Indians of South America--Antiquities  Search this
Material culture  Search this
Rites and ceremonies  Search this
Social life and customs  Search this
Indians of South America--Religious life and customs  Search this
Art and anthropology  Search this
SOCIAL SCIENCE--Anthropology--Cultural  Search this
Indians of South America--Material culture  Search this
Indians of South America--Rites and ceremonies  Search this
Indians of South America--Social life and customs  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1156561

Fighting Invisibility

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2015 June 24
Scope and Contents:
Miguel Angel Ballumbrosio Guadalupe; Felix Roberto Arguedas Caycho; Leonardo Tello Imaina
General:
This audio recording has been transcribed. View transcription and play recording here. Download a PDF of the transcription here.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives; please submit this form. Licensing fees may apply in addition to any processing fees.
Topic:
Street art  Search this
Graphic arts  Search this
Chicha (Art)  Search this
Art -- Peru  Search this
Artists--Peru  Search this
Collection Citation:
Smithsonian Folklife Festival records: 2015 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2015, Item SFF_2015_0624_Peru_El_Hablador_0004
See more items in:
Smithsonian Folklife Festival records: 2015 Smithsonian Folklife Festival
Smithsonian Folklife Festival records: 2015 Smithsonian Folklife Festival / Series 2: Perú: Pachamama / 2.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk50d714b4a-620b-4e0b-9782-ff1a1c8144e2
EDAN-URL:
ead_component:sova-cfch-sff-2015-ref542
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Bermuda Connections

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
Approaching Bermuda by air or sea, one notices first that the isles are opulently landscaped and impeccably adorned with lush gardens and pastel architecture. For its 300,000 yearly visitors and 60,000 islanders alike it is a land that is small in area but rich in culture. Bermuda is at once a geographic place and cultural space - a creation of human enterprise, artistry, and effort.

Bermuda's local culture grew out of the island's strategic location. From its very early settlement this tiny archipelago was a central navigational landmark between the British lsles, mainland America, the Caribbean, and later the Azores. Patterns of travel and exchange have continued to rejuvenate the cultural fabric of the island colony. These patterns have been a source of material goods, population, and culture. People, ideas, and goods, along with music, foods, and other forms of culture, flow out and back from Bermuda with the regularity of the ocean tides. Bermudian folklife is the creative, pragmatic, and unique fusion of these cosmopolitan trends - a fusion that was vividly on display to visitors at the 2001 Festival.

Bermudians value the resourcefulness with which they turn circumstances to their own use. In keeping with their perception of constant risk yet relative good fortune, they are realists, opportunists, and yet careful to acknowledge divine providence (there are more local religious establishments per person than most places in the world). They endeavor to use every resource; to watch what and who enters and leaves the island; to foster, nurture, and manage connections between family and community. They maintain clear borders between insiders and outsiders. These values permeate Bermudian experience. Bermudian culture shapes the island, and the island shape Bermudian culture. Festival visitors could share in this Bermudian experience, if only for a few hours, as it was transported to the National Mall for two weeks during the Festival.

Diana Baird N'Diaye was Curator, with Jackie Aubrey as Program Coordinator for Bermuda, and Yulette George as Program Coordinator for the U.S. The Bermuda Coordinating Committee included: Heather Whalen, Cultural Affairs Officer; Geneva Humdy-Woodley, Development and Sponsorship Relations; Linda Smith, Public Relations.

An Advisory Roundtable included: Charlotte Andrews, Johnny Barnes, R. Bruce Barritt, Jolene Bean, Geoff Bell, Joanne Brangman, Gary Burgess, Alan Burland, The Hon. Dale Butler, J.P., M.P., Karen Cabral, Colin Campbell, George Cook, Eddy DeMello, Connie Dey, Caroldey Douglas, Llewellyn Emery, Richard Fell, Glenn Fubler, Eloise Furbert, LaVerne Furbert, Sylvie Gervais, Joe Gibbons, Jennifer Gray, Joyce D. Hall, Edward Harris, Randolph Hayward, Carol Hill, Eva Hodgson, Sharon Jacobs, Elizabeth Kawaley, Ed Kelly, Stanley Kennedy, Fanon Khaldun, Ronald Lightbourne, Elsie Martin, Clarence Maxwell, Florenz Webbe Maxwell, Conchita Ming, Frederick Ming, Marshall Minors, Beverley Morfitt, Stanley Oliver, Amanda Outerbridge, Elise Outerbridge, Graeme Outerbridge, John Payne, Shirley Pearman, Ira Phillip, M.B.E., J.P., Liz Pimental, Robert Pires, Patricia Pogson, Grace Rawlins, Anthony Richardson, Veronica Ross, Dennis Sherwin, Llewellyn Simmons, Senator Calvin Smith, James Smith, Mary Talbot, Ruth Thomas, Shangri-La Durham Thompson, James Tucker, Yvona Vujacic, Jack Ward, Mary Winchell, and James Zuill.

The program was produced in partnership with the Bermuda Government Departments of Community and Cultural Affairs within the Ministry of the Environment, Development & Opportunity and The Bermuda Connections Smithsonian Folk life Festival Charitable Trust. The Leadership Committee was chaired by The Honourable Terry E. Lister, J.P., M.P. Major contributors included the Bank of Bermuda Foundation, the Bermuda Hotel Association, BELCO, Cable a Wireless, Tyco International Ltd., ACE Limited, The Argus Group, and Centre Solutions. Major in-kind support was provided by the Bermuda Container Line, the Bermuda Hotel Association, Appleby, Spurling a Kempe, Bermuda Export Sea Transfer, Stevedoring Services, XL Capital Ltd., and Deloitte & Touche.
Researchers, Presenters, and Curatorial Committee:
Marcelle Beach, Bonnie Exell, Rawle Frederick, Joe Gibbons, Nan Godet, Ronald Lightbourne, Diana Lynn, Florenz Webbe Maxwell, Elizabeth Pedro, Gary Phillips, Patricia Phillips, Robert Pires, Llewellen Simmons, Ruth Thomas, Lynne Thorne, James Tucker, Joy Wilson Tucker, Cynthia Vidaurri, Shirley White, James Ziral, John Zuill, William Zuill
Presenters:
Jolene Bean, Llewellyn Emery, Bonnie Exell, Rawle Fredrick, Joe Gibbons, Nan Godet, Randy Horton, Ron Lightbourne, Fred Ming, Elizabeth Pedro, Gary Phillips, Patricia Phillips, Llewellyn Simmons, Vejay Steede, Ruth Thomas, Lynne Thorne, James Tucker, Joy Wilson Tucker, Judith Wadson, Shirley White
Participants:
Arts of the Sea

Chris Flook, specimen collector, Smith's, Bermuda

Lisa Haynes, Seagull racer, boat builder, Hamilton, Bermuda

Llewellyn Hollis, fisherman, Pembroke, Bermuda

Michael Hooper, model boat maker, Warwick, Bermuda

Nick Hutchings, diver, Somerset, Bermuda

Royle Kemp, sailor, Southampton, Bermuda

Anson Nash, boat builder, Bermuda

George Outerbridge, glass bottom boat guide, St. George's, Bermuda

Amanda Petty, Seagull racer, boat builder, Warwick, Bermuda

Andrew Petty, Seagull racer, Pembroke, Bermuda

Mike Tatem, fitted dinghy sailor, Sandys, Bermuda

Tim Ward, Seagull racer, boat builder, St. George's, Bermuda

Alexandra West, sail maker, repairer, Shelly Bay, Bermuda

Arts of the Land, Bermuda

Joanne Adams, herbalist, Southampton, Bermuda

Teddy Burgess, builder, Paget, Bermuda

Eddie Cattell, home gardener, Flatts, Bermuda

Tony DaCosta, builder, Bermuda

Coleridge Fubler, builder, Southampton, Bermuda

Randy Furbert, beekeeper, Crawl, Bermuda

Andre Hubbard, furniture maker, restorer, Flatts, Bermuda

Altino Lopes, builder, Paget, Bermuda

Larry Mills, builder, Southampton, Bermuda

Trevor Mills, builder, Southampton, Bermuda

Julian Van Lowe, builder, Warwick, Bermuda

Tom Wadson, farmer, Southampton, Bermuda

Elizabeth Wingate, ornamental home gardener, Warwick, Bermuda

Arts of Hospitality

Betty Grant, floral arranger, Bermuda

Jane Greene, guest house owner, manager, Southampton, Bermuda

Shawn Lekki, show bartender, Hamilton, Bermuda

Fred Ming, chef, Hamilton Parish, Bermuda

Fernanda Pacheco, cook, St. David's, Bermuda

Muriel Richardson-Greaves, guest house manager, Pembroke, Bermuda

Laquita Trew, home baker, Somerset, Bermuda

Carvel Van Putten, bell captain, perfumer, Hamilton, Bermuda

Judith Wadson, foodways, Sandys, Bermuda

Shirley White, candy maker, Paget, Bermuda

Arts of Play

Matilda Caines, doll maker, Smith's, Bermuda

Judith James, teacher, children's games, Paget, Bermuda

Florenz Webbe Maxwell, storyteller, Warwick, Bermuda

Al Seymour, Jr., kite maker, Sandys, Bermuda

Al Seymour, Sr., kite maker, cricketer, Devonshire, Bermuda

Antoine Simons, kite maker, Somerset, Bermuda

Vincent Tuzo, kite maker, Paget, Bermuda

Family and Community Connections

Joe Almeida, Portuguese home decorating, Flatts, Bermuda

Lisa Almeida, Portuguese holiday crafts, Flatts, Bermuda

Jolene Bean, genealogist, family folklorist, Somerset, Bermuda

Violet Brangman, lodge traditions, oral historian, Pembroke, Bermuda

Carlos Brum, Azorean home, holiday traditions, Paget, Bermuda

Natalia Brum, Azorean home, holiday traditions, Paget, Bermuda

Yeaton Outerbridge, family business, foodways, family historian, Hamilton, Bermuda

Gloria Pearman, home, holiday decoration, home hospitality, Somerset, Bermuda

Joy Wilson Tucker, Bermudian community traditions, Pembroke, Bermuda

Crafts

Ronnie Chameau, banana doll maker, St. David's, Bermuda

Llewellyn Emery, cedar carver, Hamilton, Bermuda

Genevieve Escolastica, crochet artist, Paget, Bermuda

Fred Phillips, furniture maker, restorer, Warwick, Bermuda

Chesley Trott, cedar carver, Southampton, Bermuda

Janice Tucker, Gombey costume maker, herbalist, Pembroke, Bermuda

Arts of Performance

Gita Blakeney, vocals, Hamilton, Bermuda

Geneman (Marvin Stovell), reggae singer, Warwick, Bermuda

Leyoni Junos, vocals, Hamilton, Bermuda

Runksie (Philando Hill), reggae singer, Flatts, Bermuda

Gene Steede, Calypsonian, Pembroke, Bermuda

APEX 4 QUARTET, HAMILTON PARISH -- APEX 4 QUARTET, HAMILTON PARISHEric Whitter, group leader, vocals, Hamilton Parish, BermudaGary Bean, vocals, Hamilton Parish, BermudaHarry Bean, vocals, Hamilton Parish, BermudaRobert Symonds, vocals, Hamilton Parish, Bermuda

BERMUDA STROLLERS -- BERMUDA STROLLERSTed Ming, leader, Southamption, BermudaHerman Burch, bass guitar, Warwick, BermudaJohn Burch, lead guitar, Warwick, BermudaMichael Cupidore, steel pan, Devonshire, BermudaJames Martinez, steel pan, Devonshire, BermudaGladstone Ming, congas, Southampton, Bermuda

JAZ -- JAZMike Stowe, leader, Bailey's Bay, BermudaStephan Ahknaton, keyboard, Hamilton, BermudaDennis Francis, bass, Southampton, BermudaJade Minors, saxophone, St. George's, BermudaDayton Wharton, guitar, Smith's, Bermuda

MOSAIC -- MOSAICGary Phillips, spoken word, Paget, BermudaGrace Rawlins, spoken word, St. David's, BermudaRuth Thomas, spoken word, Southampton, Bermuda

NOT THE UM-UM PLAYERS -- NOT THE UM-UM PLAYERSBruce Barritt, satirist, spoken word, Devonshire, BermudaFred Barritt, satirist, spoken word, Pembroke, BermudaChris Broadhurst, satirist, spoken word, Hinson's Island, BermudaPeter Smith, satirist, spoken word, Warwick, BermudaTim Taylor, satirist, spoken word, Devonshire, Bermuda

PLACE'S GOMBEYS -- PLACE'S GOMBEYSAndre Place, captain, dancer, Devonshire, BermudaDion Ball, Jr., drums, Crawl, BermudaGlenville DeShields, dancer, BermudaKyree A. Dillas, dancer, Pembroke, BermudaJahdeko Fubler, dancer, Hamilton, BermudaTafari Mallory, dancer, Devonshire, BermudaAndre Parsons, lead drum, Shelly Bay, BermudaLeoshawon Place, dancer, Smith's, BermudaShaun Place, dancer, drums, Warwick, BermudaStevon Somersall, 2nd chief, dancer, Crawl, BermudaDelmair D. Trott, chief, dancer, Pembroke, BermudaDenton Trott, bow and arrow leader, dancer, Pembroke, Bermuda

SHINE HAYWARD, HAMILTON -- SHINE HAYWARD, HAMILTONWendell "Shine" Hayward, saxophone, Hamilton, BermudaAnthony Bicchieri, piano, Hamilton, BermudaEugene Joell, guitar, Hamilton, BermudaVernon Tucker, drums, Hamilton, BermudaEugene Tuzo, bass, Hamilton, BermudaJohnny Woolridge, piano, Hamilton, Bermuda

TRUNEH AND FIRES OF AFRICA, DEVONSHIRE -- TRUNEH AND FIRES OF AFRICA, DEVONSHIREDeverux "Truneh" Flood, lead vocals, percussion, Devonshire, BermudaMaxinne Burch, vocals, Devonshire, BermudaKristos Ingham, vocals, Devonshire, BermudaStamford Jackson, drums, Devonshire, BermudaCarlos Richardson, keyboardist, lead guitar, Devonshire, BermudaSidney Simmons, bass, Devonshire, Bermuda

WARNER GOMBEYS -- WARNER GOMBEYSAllan Warner, captain, dancer, St. David's, BermudaBilal Binns, dancer, Sandys, BermudaEldridge Burrows, 2nd vice-captain, Hamilton, BermudaDavid Darrell, drums, Pembroke, BermudaWilfred Furbert, drums, dancer, Pembroke, BermudaGerkimo Gardiner, dancer, Devonshire, BermudaAndre Simons, vice-captain, dancer, Pembroke, BermudaWillis A. Steede, dancer, Pembroke, BermudaWillis 0. Steede, drums, Pembroke, BermudaMarcus Tucker, dancer, Paget, BermudaWilliam L. Warner, drums, dancer, Sandys, BermudaRobert Wilson, captain, dancer, Hamilton, Bermuda

Arts of Celebration

BERMUDA PIPE BAND, ST. GEORGE'S -- BERMUDA PIPE BAND, ST. GEORGE'SDavid Frith, leader, St. George's, BermudaJoel Cassidy, St. George's, BermudaGeorge Cooke, St. George's, BermudaJosh Simons, St. George's, Bermuda

BERMUDA REGIMENT BAND -- BERMUDA REGIMENT BANDBarrett Dill, bandmaster, BermudaDeonnie Benjamin, BermudaAllan Brown, BermudaNeilson DeGraff, BermudaAndre Esdaille, BermudaAlfred Furbert, BermudaStyles Furbert, BermudaWayne Furbert, BermudaPhilip Pitman, BermudaJohn Richards, BermudaOrin Simmons, BermudaMaclarien Smith, BermudaAidan Stones, BermudaCarmen Trott, BermudaJohn Van-Lowe, BermudaDwayne Williams, BermudaStanley Ward, Bermuda

CRICKET LEGENDS -- CRICKET LEGENDSColin Blades, captain, batsman, radio commentator, Paget, BermudaGladstone Brown, opening batsman, Southampton, BermudaAllan Douglas, cricket coach, wicket keeper, St. George's, BermudaDarin Lewis, all-rounder, Warwick, BermudaAllan "Forty" Rego, Sr., crown and anchor, Warwick, BermudaMansfield "Bojangles" Smith, groundskeeper, St. George's, BermudaWendell Smith, cricket coach, St. George's, BermudaDennis Wainwright, wicket keeper, opening batsman, St. George's, BermudaC.V. Woolridge, cricket commentator, Smith's, BermudaWarrington "Soup" Zuill, cricket storyteller, St. George's, Smith's, Bermuda

ST. GEORGE'S CRICKET CLUB, ST. GEORGE'S -- ST. GEORGE'S CRICKET CLUB, ST. GEORGE'SLouis DeSilva, president, St. George's, BermudaJason Anderson, St. George's, BermudaAnkoma Cannonier, St. George's, BermudaMaxwell Crane, St. George's, BermudaEugene Foggo, St. George's, BermudaGregory Foggo, St. George's, BermudaKameron Fox, St. George's, BermudaSinclair Gibbons, St. George's, BermudaKenny Phillips, St. George's, BermudaMark Ray, St. George's, BermudaAndrew Richardson, St. George's, BermudaDetroy Smith, St. George's, BermudaRyan Steede, St. George's, Bermuda

SOMERSET BRIGADE BAND, SOMERSET -- SOMERSET BRIGADE BAND, SOMERSETMajor Leslie Lowe J.P., leader, Somerset, BermudaEllsworth Bean, Somerset, BermudaWilbur Brangman, Somerset, BermudaDwayne Bulford, Somerset, BermudaGaren Bulford, Somerset, BermudaClayton De Roza, Somerset, BermudaHiram Edwards, Somerset, BermudaRobert Lambe, Somerset, BermudaMaxwell Maybury, Somerset, BermudaElliott Perinchief, Somerset, BermudaDawnette Smith, Somerset, BermudaHenry Smith, Somerset, BermudaAllan Tucker, Somerset, BermudaAndrea Tucker, Somerset, BermudaReginald Tucker, Somerset, Bermuda

SOMERSET CRICKET CLUB, SOMERSET -- SOMERSET CRICKET CLUB, SOMERSETDexter Basden, Somerset, BermudaTony Cheeseman, Somerset, BermudaCurtis Jackson, Somerset, BermudaEugene Johnson, Somerset, BermudaKenneth Maybury, Somerset, BermudaStephen Outerbridge, Somerset, BermudaLeon Place, Somerset, BermudaShaun Roberts, Somerset, BermudaJacobi Robinson, Somerset, BermudaLynn Wade, Somerset, BermudaShannon Warner, Somerset, BermudaWendell White, Somerset, Bermuda
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2001, Series 2
See more items in:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk54ddd4b0d-474a-41f2-a0d9-9bccd72a436d
EDAN-URL:
ead_component:sova-cfch-sff-2001-ref18

Asian Pacific Americans: Local Lives, Global Ties

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
What does it mean to be a person of Asian or Pacific Island descent living in the United States today? What are the primary strategies for adaptation and change versus sustainability and continuity? These were the questions underlying the 2010 Festival program.

The Asian Pacific American (APA) population of metropolitan Washington, D.C., provided an excellent cross-section of the national APA community. Moreover, its rapid growth made it a good example of the "global/local" and "preservation/transformation" themes that were celebrated at the 2010 Festival. The large number of federal workers and the location of foreign embassies in the nation's capital have brought APAs here from all fifty states and from all Asian countries. While the majority of APAs are foreign-born, those based in D.C. combine both Asian and American influences into many aspects of their lives.

The Festival program brought together people from diverse communities in the Washington, D.C., area to highlight the breadth of traditions practiced by APA cultures. It emphasized the ways in which APAs make connections not only to each other, but also to the broader communities in which they live, work, and play. Through theater, music, dance, and sports performances; demonstrations of language and calligraphy traditions; martial arts, healing arts, and ritual arts; crafts and foodways presentations; and children's activities, Festival visitors could learn about APA identity, history, and culture, discovering shared and integrated traditions.

The Asian Pacific American program was part of a collaborative research and public presentation project between the Smithsonian Center for Folklife and Cultural Heritage and the Smithsonian Asian Pacific American Program. Partnering with the University of Maryland, local APA communities, and other organizations, the project researched and documented the cultural heritage of Asian Pacific Americans living in and around the capital region. In addition to the Festival program, the Smithsonian preserves collected stories, images, video, and audio clips of traditional APA culture in its archives and on its Web sites.

Phil Tajitsu Nash was Curator and Arlene Reiniger was Program Coordinator.

The program was produced in collaboration with the Smithsonian Institution's Asian Pacific American program. AARP was a Major Donor to the program with additional support from the Office of Hawaiian Affairs, Juanita Tamayo Lott in memory of Robert H. Lott, OCA, Pragmatics Inc., and the Taipei Economic and Cultural Representative Office in the United States.
Presenters:
Gina Inocencio, Terry Liu, Lucy Long, Cliff Murphy, Konrad Ng, Franklin Odo, Mark Puryear, Ang Robinson, Take Toma, Gerald Yamada, Michael Wilpers
Participants:
CRAFT TRADITIONS

Menosh Hashim, Indian American Urdu teacher, Falls Church, Virginia

Hongyi He, Chinese American paper cutter, Astoria, New York

HIRO, Japanese American painter and calligrapher, Alexandria, Virginia

Vu Hoi, Vietnamese American calligrapher, Merrifield, Virginia

Akiko Keene, Japanese American doll maker, Potomac, Maryland

Myoung-Won Kwon, Korean American calligrapher, Silver Spring, Maryland

Mereadani Lomaloma, Fijian American tapa painter, Washington, D.C.

Peni Lomaloma, Fijian American tapa painter, Washington, D.C.

Bertrand Mao, Chinese American calligrapher, Potomac, Maryland

Sushmita Mazumdar, Indian American bookmaker, Arlington, Virginia

Helen Sze McCarthy, Taiwanese American painter, Silver Spring, Maryland

Gankhuyag Natsag, Mongolian American mask maker and calligrapher, Arlington, Virginia

Khin Mg San, Burmese American chinlone master and ball maker

Teresiter Sauler, Fijian American tapa painter, Washington, D.C.

Melissa Mokihana Scalph, Hawaiian lei maker, Alexandria, Virginia

Sala Sucu, Fijian American tapa painter, Washington, D.C.

Sivoni Sucu, Fijian American tapa painter, Washington, D.C.

Sue Tun, Burmese American muralist, Alexandria, Virginia

Paiboon Uthikamporn, Thai American calligrapher, Rockville, Maryland

Debi Velasco, Hawaiian lei maker, Lanham, Maryland

FOODWAYS TRADITIONS

Roohi Ahuja, Sikh

Karuna Baskaran, Bangladeshi American, Sterling, Virginia

Najmieh Batmangliji, Iranian American, Washington, D.C.

Evelyn Bunoan, Filipina American

Darlene Butts, Hawaiian

Meenu Chadha, Sikh

Ray Chen, Chinese American, Gaithersburg, Maryland

Nantana Nagavajara Chitman, Thai American, McLean, Virginia

Franklin Fung Chow, Chinese American, Washington, D.C.

Judith Do, Singaporean American, Sterling, Virginia

Nasreen Hasan, Bangladeshi American, Silver Spring, Maryland

Hi Soo Hepinstall, Korean American, Sperryville, Virginia

Aiko Ichimura, Japanese American, Washington, D.C.

Sukiman Kadir, Indonesian American, Silver Spring, Maryland

Sunda Khin, Burmese American, Fairfax, Virginia

Lani Lizarda, Filipina American, Reston, Virginia

Litia Lomalagi, Fijian American, Washington, D.C.

Louise Lomaloma, Fijian American, Washington, D.C.

Nit Malikul, Thai American, Silver Spring, Maryland

Mya Mya Myaing, Burmese American, Alexandria, Virginia

Mariette Hiu Newcomb, Chinese American, Vienna, Virginia

Tien Nguyen, Vietnamese American

John Tin Pe, Burmese American, Washington, D.C.

Penny Phoon, Malaysian American

Seng Luangrath Pradachith, Lao American

Vilayphone Rattana, Lao American, Woodbridge, Virginia

Noriko Sanefuji, Japanese American, Washington, D.C.

Terry Segawa, Japanese American, Bethesda, Maryland

Shantanu Sen, Indian American, Fairfax, Virginia

Warren Sonoda, Hawaiian, Alexandria, Virginia

Viengmone Sophavandy, Lao American, Silver Spring, Maryland

Lehua Melanie Stewart, Hawaiian

Sala Sucu, Fijian American, Washington, D.C.

Sam-Oeun Tes, Cambodian American

Lok Tiwari, Nepalese American, Silver Spring, Maryland

Arnedo "Nedo" Valera, Filipino American, Fairfax, Virginia

Benita Wong, Chinese American, Vienna, Virginia

PERFORMANCE TRADITIONS

Aloha Boys (Hawaiian) -- Aloha Boys (Hawaiian)Glen Hirabayashi, McLean, VirginiaIsaac Ho'opi', McLean, VirginiaIrv Queja, McLean, Virginia

American Bando Association (Burmese American) -- American Bando Association (Burmese American)Dara Brown, Bryan Carr, Sidney Grandison, Richard Gray, Fredericka Prevost, Levron Scuchalter, John Tolbert, André Turner, Duvon Winborne

Bhangra and Giddha: Folk Dances of Punjab

Burma American Buddhist Association

Burmese American Dance -- Burmese American DanceKyaw Tha Hla, Myat Yin Chaw

Cambodian American Heritage Inc. -- Cambodian American Heritage Inc.Solei Becker, Paula Chea, Bonavy Chhim, Juliana Dos, Angela Ea, Laura Kun, Marina Kun, Lynna Lam, Alyssa Lim, Davina Lim, Maleena Lim, Samontha Lushinski, Victoria Mam, Diana Ouk, Kristina Ouk, Aleeyha Sophia Prak, Grace Rafferty, Megan Jean Smith, Chhomnimol Murielle Sokhon, Voleak Evelyn Sokhon, Kesarah Touch, Elizabeth Yap, Erica Yap, Katherine Yap, Regina Yap, Stephanie Yap, Darlene You, Vannika Jasmine You

Cambodian Buddhist Society Culture Group -- Cambodian Buddhist Society Culture GroupAnthony, Khalarath Bloesch, Kim Bloesch, Rachna Chhay, Rachny Chhay, Ngek Chum, Sovan Chum, Key Ek, Viphas Heng, Sophy Hoeung, Ra Klay, Elizabeth Korn, Dinita Mani, Masady Mani, Sok Nou, Chanversa Omkar, Chris Omkar, Joanna Pecore, Annong Phann, Dante Phann, Bobbharath Rithipol, Manida Sam, Vathana Say, Suejane Tan, Sunny Tech, Allsya Thao, Victor Thao, Sochietah Ung, Ganbott Voey

Chinatown Community Cultural Center and the Wong People, Washington, D.C. -- Chinatown Community Cultural Center and the Wong People, Washington, D.C.Sifu Raymond Wong, Mei Cao, Sue Lin Li, Damian Ma, Charles Meadows, Michael Peters, Dat Phan, Can-Ye Wong

Chinese Opera (Society for Kunqu Arts)

Dana Tai Soon Burgess & Company (Korean American), Washington, D.C.

Dhroopad (Bangladeshi American)

Fiji Vesi Tagitagi Ensemble -- Fiji Vesi Tagitagi EnsembleLitia Lomalagi, Sili Lomalagi, Louise Lomaloma, Sala Sucu, Saula Sucu

Fil-Am Dance Ensemble (Migrant Heritage Commission)

Ganga (Bengali American) -- Ganga (Bengali American)Hitabrata Roy, Vienna, VirginiaKrishna RoyBroto Roy, Falls Church, VirginiaNupur LahiriIndrajit Roy ChowdhuryGautam Adhikari

Hakka Association in the Washington Metropolitan Area

Hakka TungFa Chorus of Greater Washington, D.C.

Halau Ho'omau (Hawaiian)

Halau O'Aulani (Hawaiian)

Hawaiian Serenaders and Dancers

Himalayan Music Group from Nepal with Prem Raja Mahat

India International School

Kaur Foundation (Sikh)

Korean American Cultural Arts Foundation

Lao American Break-dancers -- Lao American Break-dancersBinly AKA Lancer, Kennedy Phounsiri, Ranny Sitthideth, Issy Visarayachack

Lao American Women's Association of Greater Washington, D.C. -- Lao American Women's Association of Greater Washington, D.C.Sue Chaison, Reagan Naughton, Sengpheth Sandara, Nicky Tummatip

Lao Heritage Foundation Musicians -- Lao Heritage Foundation MusiciansBriana Chaisone, Bobby Inthavong, Khamsa Sounviengxay, Xai Souphom

Lao Swan Dance Group -- Lao Swan Dance GroupMimi Chanthaphone, Sivilay Phabmixay, Silidavone Phanthavong, Christina Sivanthaphanith

Marshallese Community

Mongolian School of Greater Washington

Mongolian Wrestlers

Nen Daiko—Ekoji Buddhist Temple (Japanese American) -- Nen Daiko—Ekoji Buddhist Temple (Japanese American)Cordula Dahal, Brant Horio, Maya Horio, Emily Ihara, Lisa Iwahara, Diane Miyasato, Greg Nakamura, Lisa Noguchi, Kevin Shin

Nepal Dance School

Nguyen Dinh Nghia (Vietnamese American), Bowie, Maryland -- Nguyen Dinh Nghia (Vietnamese American), Bowie, MarylandFa Hoang, Tuan Hoang, Tung Huynh, Hoa Nguyen, Phuong Nguyen, Trang Nguyen

Northern Virginia Rondalla (Filipino American)

Pakistani American Association

Rumah Gadang (Indonesian American), Arlington, Virginia -- Rumah Gadang (Indonesian American), Arlington, VirginiaMuhammad Afdal, Nani Afdal, Ni Nyoman Noviantari Djangkuak, Obaida Farid, Zaafira Jaya, Hendri Julizardo, Malik Kadir, Sukiman Kadir, Urooba Khan, Julia Kurnia, Tera Kurnia, Aldo Lawindo, Alya Lawindo, Abdul Malik, Hairul Nizam, Raisha Nanda Noer, Putri Sudrajat, Vita Sumedi, Ni Kadek Sutami, Amara Wibowo, Jannah Alfallah Yusuf

Sama Ensemble (Persian American) -- Sama Ensemble (Persian American)Ali Analouei, Giti Abrishami, Whoman Bahrami, Behnaz Bibizadeh, Steve Bloom, Naser Khorasani, Azam Shariatpanahi, Souri Shirzadi

Samia Mahbub Ahmad (Indian American) -- Samia Mahbub Ahmad (Indian American)Samia Mahbub Ahmad, Vasanti Athavale, Debapriya Nayak

Samoan Community of Washington, D.C.

Shizumi Kodomo Dance Troupe (Japanese American) -- Shizumi Kodomo Dance Troupe (Japanese American)Misaki Buker, Sakurako Buker, Carolyn Hane, Shizumi Manale, Chie Meier, Maki Meier, Naomi Meier, Oksana Micheale, Jessa Nather, Rena Schwartz, Ami Yanai

Sikh Kirtani Jatha

Somapa Thai Dance Company -- Somapa Thai Dance CompanySuteera Nagavajara, Chotima Eiamchim, Saul Gonzalez, Puangtip Manakul, Geoffrey Nelson, Boosaba Pananon, Warin Tepayayone, Kotchakorn Thepnorarat, Daranee Yongpradit

Sri Lankan Ensemble

Sulu D.C. (Asian Pacific American) -- Sulu D.C. (Asian Pacific American)Kilusan Bautistsa, Lily Bee, Regie Cabico (host), Alexander Cena, Simone Jacobson, Gowri K, Jenny C. Lares, iLL-Literacy, The Pinstriped Rebel (deejay), SNRG, Tiayi Sun, Yoko K

Sutera Malaysia

Sutradhar Institute (Indian American)

Tae Kwon Do

Ultimate Kali-Eskrima (Filipino American) -- Ultimate Kali-Eskrima (Filipino American)Walter H. Crisostomo, Wesley H. Crisostomo, Lexi D. Crisostomo, Kibok Kim, Ron Laster, Hans Ege Werger

Veiyasana Dance Troupe (Fijian American) -- Veiyasana Dance Troupe (Fijian American)Venina Bulewakula, Akisi Catanasiga, Emali Catanasiga, Evaloni Catanasiga, Emma Koroiveibau, Adi Lusiana Lomalagi, Sailasa Lomalagi, Mereadani Lomaloma, Josivini Tokalauvere

Washington Chushan Chinese Opera

Washington Gu-Zheng Ensemble -- Washington Gu-Zheng EnsembleGrace Chu, Alice Kan, Kent Kan, Jane Li, Li Li, Phoebe Liu, Angela Wang

Washington Toho Koto Society -- Washington Toho Koto SocietyZainab Abdul-Rahim, Miya Aoki, Jim Best, Kyle Brady, Wanda Butler Hardie, Colin Khem, Lombar Martinez, Kyoko Okamoto, Keiko O'Rourke, Sachiko Smith, Izumi Tamanaha, Yoshiko Tucker

Wat Thai of Washington, D.C.

TALKSTORY DISCUSSION STAGE -- TALKSTORY DISCUSSION STAGEKiran Ahuja, Keola Akana, Chris Baltazar, Kumar Barve, Ahmad Borhani and family, Hung Bui, Eric Byler, Yoonmee Chang, Nicholas Chen, Wendy Cheng, Laura Chin, Harry Chow, Sandy Hoa Dang, Judith Do, Tammy Duckworth, Kimmie Duong, Ryan Edgar, Eni Faleomavaega, Theo-dric Feng, Cora Foley, Jennie Chin Hansen, Lisa Hasegawa, HIRO, Mazie Hirono, Vu Hoi, Michael Honda, Bel Leong Hong, Terry Hong, Nasima Hosain, Kun-yen Huang, Hoa Tu Huong, Tommy Hwang, Grant Ichikawa, Gina Inocencio, Tim Johnson, Tanya Joshua, Harminder Kaur, Mark Keam, Phyllis Khaing, Jeong H. Kim, Yann King, Harold Koh, Howard Koh, Soohyun Julie Koo, Ford Kuramoto, Chin-fun Kwok, Myoung-Won Kwon, Cherry Kwunyeun, Rosetta Lai, Jenny Lares, Brigitte Le, D. Lee, Susan Lee, Wendy Lim, Michael Lin, Lawrence Liu, Juanita Tamayo Lott, Gerald Maa, Harpal S. Mangat, Bertrand Mao, Gale Awaya McCallum, Lurline McGregor, Norman Mineta, V. Mirandah, Ruby Moy, Myamya Myaing, Hiu Newcomb and family, Long Nguyen, Franklin Odo, Annabel Park, H.K. Park, Alakananda Paul, Dilip Paul, Saswati Paul, Mali Phonpadith, Lili Qi, Shirley Queja, Sonia Reynolds, Anna Rhee, Amy Rider, Miriam Riedmiller, Noriko Sanefuji, Larry Shinagawa, Eric Shinseki, Shiro Shintaku, Sala Sucu, Saula Sucu, Carol Takafuji, Annie Tao, Take Toma, Sandi Tun, Carmelita Tursi, Kris Valderrama, Yeni Wong, Gerald Yamada, Bruce Yamashita, Joanne Yamauchi, Al Yanger, Charlotte Yeh, Joanna Zhao
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2010 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.2010, Series 2
See more items in:
Smithsonian Folklife Festival records: 2010 Smithsonian Folklife Festival
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5d97ed86c-f4ef-42fa-86d7-f3cc95b259d0
EDAN-URL:
ead_component:sova-cfch-sff-2010-ref18

Extra bold a feminist inclusive anti-racist nonbinary field guide for graphic designers Ellen Lupton, Farah Kafei, Jennifer Tobias, Josh A. Halstead, Kaleena Sales, Leslie Xia, Valentina Vergara

Title:
Feminist inclusive anti-racist nonbinary field guide for graphic designers
Author:
Lupton, Ellen  Search this
Kafei, Farah  Search this
Tobias, Jennifer  Search this
Halstead, Josh A  Search this
Sales, Kaleena  Search this
Xia, Leslie  Search this
Vergara, Valentina  Search this
Author:
Container of (work): Lupton, Ellen Giving and taking credit  Search this
Physical description:
1 online resource (219 pages) illustrations (some color)
Type:
Electronic resources
Electronic books
Date:
2021
Topic:
Design--Human factors  Search this
Design--Social aspects  Search this
Design--Facteurs humains  Search this
Design--Aspect social  Search this
Call number:
NK1520 .L87 2021 (Internet)
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1156284

Indiana, Robert, Printed Material

Collection Creator:
Van der Marck, Jan, 1929-2010  Search this
Container:
Box 3, Folder 25
Type:
Archival materials
Date:
1963-circa 1972
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jan Van der Marck papers, 1942-2010. Archives of American Art, Smithsonian Institution.
See more items in:
Jan Van der Marck papers
Jan Van der Marck papers / Series 2: Files on Artists and Art Historians
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d4ea63be-b710-4126-a9de-295bdd72f019
EDAN-URL:
ead_component:sova-aaa-vandjan-ref681
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Rauschenberg, Robert

Collection Creator:
Leo Castelli Gallery  Search this
Container:
Box 84, Folder 8
Type:
Archival materials
Date:
1985
Collection Restrictions:
Use of original records requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 4: Artists Files / 4.1: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9312c86c1-7e5b-40e4-9028-fa112fbcdcfa
EDAN-URL:
ead_component:sova-aaa-leocast-ref11625
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Judd, Donald

Collection Creator:
Leo Castelli Gallery  Search this
Extent:
(Oversized material from Box 70, Folders 15, 19-21, 23-26; Box 71, Folders 1-3)
Container:
Box 199, Folder 9
Type:
Archival materials
Date:
1965-1983
Collection Restrictions:
Use of original records requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
See more items in:
Leo Castelli Gallery records
Leo Castelli Gallery records / Series 4: Artists Files / 4.1: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9826171c0-83c9-4b7a-b348-37d1e9802f44
EDAN-URL:
ead_component:sova-aaa-leocast-ref11956
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Museum of Fine Arts, Boston - Connections: Richard Artschwager (1992)

Collection Creator:
Artschwager, Richard, 1923-  Search this
Container:
Box 4, Folder 19
Type:
Archival materials
Date:
1991-1992
Collection Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Richard Artschwager papers, 1959-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Richard Artschwager papers
Richard Artschwager papers / Series 3: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw978f8551f-14ba-4e1f-b7a4-246ed88c9bf6
EDAN-URL:
ead_component:sova-aaa-artsrich-ref210
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Robert Morris: Sculpture

Collection Creator:
Dwan, Virginia  Search this
Container:
Box 2, Folder 17
Type:
Archival materials
Date:
1966 March 15
Scope and Contents:
Oversized material housed in OV6
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
See more items in:
Dwan Gallery records
Dwan Gallery records / Series 1: Los Angeles Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw987524048-be50-40f1-9004-74fa9da8c914
EDAN-URL:
ead_component:sova-aaa-dwangall-ref81
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10

Collection Creator:
Dwan, Virginia  Search this
Container:
Box 2, Folder 29
Type:
Archival materials
Date:
1967 May 2
Scope and Contents:
Oversized material housed in OV6
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dwan Gallery records, 1959-circa 1982, bulk 1959-1971. Archives of American Art, Smithsonian Institution.
See more items in:
Dwan Gallery records
Dwan Gallery records / Series 1: Los Angeles Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9beec9b60-d4fc-43d7-a992-39e0872fb590
EDAN-URL:
ead_component:sova-aaa-dwangall-ref93
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Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Missing Title

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
New York school of art  Search this
Modernism (Art)  Search this
Function:
Arts organizations -- New York (State)
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99ee222af-4da2-4011-b910-9e0933a5f81e
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Online Media:

James B. Watson papers

Creator:
Watson, Virginia  Search this
Watson, James B. (James Bennett), 1918-2009  Search this
Extent:
52.5 Linear feet (123 boxes)
47 Sound recordings
Type:
Collection descriptions
Archival materials
Sound recordings
Correspondence
Books
Programs
Field notes
Maps
Punched cards
Journals (periodicals)
Grant proposals
Photographs
Articles
Lecture notes
Place:
Papua New Guinea
Brazil
Mato Grosso (Brazil : State)
Papua New Guinea -- Social life and customs
Date:
1904-1998
bulk 1933-1987
Summary:
This collection contains the professional papers of cultural anthropologist James B. Watson, and documents his fieldwork in Papua New Guinea, Brazil, and Del Norte, Co., as well as his teaching career at the University of Washington. Included are field notes, lecture notes, correspondence, maps, photographs, books, articles, journals, grant proposals, surveys, data punch cards, conference materials, and sound recordings.
Scope and Contents:
This collection is comprised of the professional papers of James B. Watson, the bulk of which relate to his research and academic work on the Eastern Highlands of Papua New Guinea. The series are Research, Writings, Correspondence, Professional Activities, University Files, Biographical Files, Maps, Photographs, and Sound Recordings.

The Research series contains Watson's research on Hopi food classification systems in Arizona, Cayua acculturation in Brazil, social stratification between English-speaking and Spanish-speaking residents of Del Norte, Co., numerous research projects in Papua New Guinea, and gift exchange theories.

The Arizona, Hopi Food Classification Systems subseries consists of his research among the Hopi in Arizona, primarily on their food classication systems. Included are field notes and reports.

The Mato Grosso, Brazil and Cayua Acculturation subseries consists of research materials conducted while Watson was working as an assistant professor in Sao Paulo. Included are field notes, bibliographies, a journal, and a language notebook primarily regarding his research on culture change among the Cayua.

The Del Norte, Colorado Surveys subseries contains material related to research conducted in the summers of 1949 and 1950 as part of a study on social stratification between English-speaking and Spanish-speaking residents of Del Norte. Included are datasets from several community surveys on education, occupations, business, and cultural attitudes, along with research notes and background materials.

The Papua New Guinea subseries consists of research materials on the Eastern Highlands of Papua New Guinea. Included are field notes, language materials, bibliographies, grant documents and research proposals, genealogy data, long reports and patrol reports, data punch cards, and TAT (thematic apperception test) protocols. There is material from several research projects including the Committee on New Guinea Studies (CONGS), the Kainantu Blood Group Study, and the New Guinea Religions Project. Watson's wife, Virginia Drew Watson, also has research material in this series. Language documentation include lexicons and notes about Agarabi, Auyana, Awa, Tairora, Gadsup, and Tok Pisin.

The subsubseries Micro-evolution Studies Project (MES) consists of related Papua New Guinea research as part of this multi-year project. Material included is correspondence, financial documents, memorandums and planning documents, grant proposals, language files, and work papers.

The Gift Exchange Theories subseries consists of Watson's research on gift exchange theories, primarily as they relate to small autonomous peoples. The material consists of research notes, paper ideas, bibliographies, and grant applications.

The Other Research subseries consists of papers and research that are not easily catagorized. Included are subject files on perception, notes and critiques of Marshal Sahlins's Stone Age Economics, and a research project by Watson studying innovation in high school social studies curriculum.

The Writings series primarily consists of journal articles produced over the duration of his career. Included are research notes, drafts, and some correspondence. A print copy is included where possible. There is significant material related to his book Tairora Culture, including chapter drafts, outlines, and reader comments. The writings by others are primarily annotated copies of articles, rare and small print-run items, or manuscripts by others sent to Watson for comment.

The Correspondence series contains professional and personal correspondence with Watson's colleagues and contemporaries in the field, including J. David Cole, Terence Hays, Paula Brown-Glick, Richard Lieban, Howard P. McKaughan, Harold Nelson, Kerry Pataki-Schweizer, Kenneth E. Read, Sterling Robbins, and Roy Wagner. Topics include his academic career, student dissertations, research grants and fellowships, and research related to Papua New Guinea, and in particular the Micro-evolution Studies project.

The Professional Activities series primarily consists of conference notes, papers, presentations, and symposium documents. Included are materials for the American Anthropological Association, the Association for Social Anthropology in Oceania, the Pacific Sciences Conference, as well as symposiums held at the East-West Center in Honolulu, Hawaii. Some of the files are related to specific symposiums Watson attended or helped to organize, the bulk of which are related to Papua New Guinea. Also included are Watson's lecture notes, and materials related to the United Nations West Irian Development Plan

The University Files series contains material related to Watson's academic career. The bulk of the files are course materials from the classes he taught at the Univesity of Washington, which include lecture notes, syllabi, exams, and student papers. Other materials includes student dissertation files and some of Watson's course work from the University of Chicago.

The Biographical Files series includes numerous editions of his curriculum vitae and bibliographies.

The Maps series contains maps used in Watson's research, which includes Brazil; Del Norte, Co.; and Papua New Guinea. The bulk are maps of Papua New Guinea, and include published maps, annotated maps, hand-drawn maps, patrol reports, and linguistic maps.

The Photographs series contains photographs of Watson's fieldwork and professional career. The bulk of his fieldwork photographs are from Del Norte, Co. and Papua New Guinea. The Del Norte photographs include aerial images along with photographs of residents, houses, and cultural activities. The photographs from Papua New Guinea include images of a taro garden, a woman before and at her marriage ceremony, and images of tools found at an excavation site near the Wahgi Valley.

The sound recordings contain seven identified recordings made in the Papua New Guinea Eastern Highlands, Kainantu District during James and Virginia Watson's first trip, 1954-1955. Also included are 31 recordings of lectures and classes by James Watson and others, two recordings of popular music, and six reels recorded at the Pacific Science Congress in Tokyo in 1966. The remaining 23 uncataloged recordings are unidentified or partially identified.

Please see individual series descriptions in the finding aid for additional information.
Arrangement note:
This collection is arranged in 9 series:

Series1: Research, 1933-1993

Series 2: Writings, 1904-1995

Series 3: Correspondence, 1933-1994

Series 4: Professional Activities, 1944-1998

Series 5: University Files, 1939-1991

Series 6: Biographical Files, 1941-1991

Series 7: Maps, circa 1920s-1970

Series 8: Photographs, circa 1942-1977

Series 9: Sound Recordings, 1954-1984
Biographical/Historical note:
James B. Watson (1918-2009) was a cultural anthropologist and university professor. He is primarily known for his ethnographic studies of the Eastern Highlands of Papua New Guinea, with a concentration on acculturation. He taught at the University of Washington, was the prinicipal investigator for the Micro-evolution Studies project (MES), and the author of numerous journal articles and books.

Watson was born in Chicago, Ill., and raised in Bangor, Maine. He studied anthropology at the University of Chicago, earning his B.A. in 1941; his M.A. in 1945; and his Ph.D. in 1948. Fred Eggan acted as his advisor while he was pursuing his doctorate. He began his teaching career as an assistant professor at the Escala Livre de Sociologia e Politica, Sao Paulo (1944-1945); Beloit College (1945-1946); University of Oklahoma (1946-1947); and as an associate professor at Washington University in St. Louis (1947-1955). He then became a full professor of anthropology at the University of Washington (1955-1987), where he spent the majority of his career.

His ethnographic research began with his fieldwork among the Hopi in Arizona in 1942. He researched Hopi food classification systems, which would become the subject of his master's thesis. Watson would next study the effects of acculturation among the Cayua people in Mato Grosso, Brazil in 1943-1945. This research would become the basis of his dissertation, later to be published as Cayua Culture Change: A Study in Acculturation and Methodology. His wife, anthropologist Virginia Drew Watson, accompanied him and conducted her own research. While at Washington University, he directed fieldwork in the summers of 1949 and 1950 in Del Norte, Co., conducting several community surveys on education, occupations, business, and cultural attitudes. These surveys were part of a larger study on social stratification between English-speaking and Spanish-speaking residents of Del Norte.

Watson is most noted for his work in the Papua New Guinea Highlands, where he was one of the first generation of Highland ethnographers. Along with Virginia Drew Watson, he studied the Kainantu peoples of the Eastern Highlands including the Tairora, the Gadsup, the Auyana, and the Awa. He was involved in several research projects, including the Committee on New Guinea Studies (CONGS), The Kainantu Blood Group Study, and the New Guinea Religions Project.

He was also the principal investigator for the Micro-evolution Studies project (1959-1968) where he directed a team of researchers examining the interconnections of the Kainantu peoples from the perspectives of ethnography, linguistics, archaeology, and physical anthropology. Other MES researchers include Kenneth E. Read, Robert A. Littlewood, Howard McKaughan, Kerry J. Pataki-Schweizer, and Sterling Robbins. This research on Papua New Guinea is best described in his book Tairora Culture: Contingency and Pragmatism (1983).

He was professionally active, attending and organizing sessions at annual meetings for the American Anthropological Association (AAA) and the Association for Social Anthropology in Oceania (ASAO). He also organized symposiums at the East-West Center in Honolulu, Hawaii. Additionally, he served as a consultant to the United Nations on their West Irian Development Plan in 1967. Watson retired from teaching in 1987, but continued to publish and remain involved in AAA and ASAO. He died in 2009.

Sources Consulted: 1999 Westermark, George. ASAO Honorary Fellow: James B. Watson. Association for Social Anthropology in Oceania Newsletter 104: 21

Chronology

1918 -- Born on August 10 in Chicago, Illinois

1941 -- B.A. in anthropology, University of Chicago Lecturer, University of Chicago

1941-1942 -- Fieldwork: Hopi

1943 -- Married Virgina Drew Fieldwork: Mato Grosso, Brazil

1943-1945 -- Fieldwork: Brazil

1944-1945 -- Assistant Professor, Escala Livre de Sociologia e Politica, Sao Paulo, Brazil

1945 -- M.A. in anthropology, University of Chicago

1945-1946 -- Assistant Professor, Beloit College

1946-1947 -- Assistant Professor, University of Oklahoma

1947-1955 -- Associate Professor, Washington University in St. Louis

1948 -- Ph.D. in anthropology, University of Chicago

1949-1950 -- Director, Washington University summer field project

1949-1950 -- Fieldwork: Del Norte, Colorado

1953-1955 -- Fieldwork: Eastern Highlands, Papua New Guinea

1955-1987 -- Professor of Anthropology, University of Washington

1959 -- Fieldwork: Papua New Guinea and Netherlands New Guinea

1959-1968 -- Principal Investigator, New Guinea Micro-evolution Studies Project

1963-1964 -- Fieldwork: Eastern Highlands, Papua New Guinea

1966-1967 -- Senior Specialist, Institute of Advanced Projects, East-West Center

1967 -- Consultant for United Nations Development Programme, West Irian

1967 -- Fieldwork: West Irian (Indonesia)

1987 -- Retired from teaching at University of Washington

2009 -- Died on November 12
Related Materials:
The National Anthropological Archives also holds the papers of Virginia D. Watson.

Mandeville Special Collections Library, UCSD holds the Micro-evolution Project Papers, MSS 436.
Provenance:
These papers were donated to the National Anthropological Archives by James Watson's daughter, Anne Watson, in 2003.
Restrictions:
Some research proposals not authored by Watson are restricted until 2083.
Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation  Search this
Ethnology -- Brazil  Search this
Ethnology -- Papua New Guinea  Search this
Genre/Form:
Sound recordings
Correspondence
Books
Programs
Field notes
Maps
Punched cards
Journals (periodicals)
Grant Proposals
Photographs
Articles
Lecture notes
Citation:
James B. Watson papers, National Anthropological Archives, Smithsonian Institution.
Identifier:
NAA.2003-15
See more items in:
James B. Watson papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw38438ad62-76b4-45df-a007-4c924a4af960
EDAN-URL:
ead_collection:sova-naa-2003-15

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