Search Results

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

YouTube Videos

Uploaded:

2021-06-17T23:52:51.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_hzTh6ydYSOI

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

YouTube Videos

Uploaded:

2014-11-05T14:50:59.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_xDiH8ktqZu8

Photographer:

Davies, Diana, 1938-  Search this

Gahr, David  Search this

Performer:

Bread and Puppet Theater  Search this

Everly Brothers  Search this

New Lost City Ramblers  Search this

Pentangle (Musical group)  Search this

The Pennywhistlers (Musical group)  Search this

The Young Tradition (Musical group)  Search this

Andersen, Eric  Search this

Bikel, Theodore  Search this

Brand, Oscar  Search this

Cameron, John A.  Search this

Chandler, Len  Search this

Collier, Jimmy  Search this

Collins, Judy, 1939-  Search this

Fuller, Jesse  Search this

Gerrard, Alice, 1934-  Search this

Guthrie, Arlo  Search this

Hartford, John  Search this

Hjorth, Ole  Search this

Joplin, Janis  Search this

Kennedy, Norman, 1934-  Search this

Kershaw, Doug  Search this

Killen, Louis  Search this

Kirkpatrick, Frederick Douglass  Search this

Koerner, John  Search this

McGhee, Brownie, 1915-1996  Search this

Mitchell, Joni  Search this

Monroe, Bill, 1911-1996  Search this

Muddy Waters, 1915-1983  Search this

Ochs, Phil  Search this

Perkins, Carl  Search this

Proffitt, Frank, Jr., 1946-2005  Search this

Rachell, Yank  Search this

Raim, Ethel  Search this

Ramsey, Frederic, 1915-1995  Search this

Reagon, Bernice Johnson, 1942-  Search this

Rinzler, Ralph  Search this

Sainte-Marie, Buffy  Search this

Seeger, Mike, 1933-2009  Search this

Stabi, Björn  Search this

Sykes, Roosevelt, 1906-1983  Search this

Taylor, James  Search this

Traum, Artie  Search this

Traum, Happy  Search this

Watson, Doc  Search this

Watson, Merle  Search this

White, Elaine (Vocalist)  Search this

Wiseman, Mac  Search this

Names:

Newport Folk Festival  Search this

Philadelphia Folk Festival  Search this

Asch, Moses  Search this

Chandler, Nancy  Search this

Dunson, Josh, 1941-  Search this

King, Coretta Scott, 1927-2006  Search this

Silber, Irwin, 1925-2010  Search this

Young, Izzy, 1928-2019  Search this

Musician:

Bosco, John  Search this

Extent:

3.83 Cubic feet (8 binders containing contact sheets, slides, and prints; 7 boxes (8.5"x10.75"x2.5") of 35 mm negatives; 2 binders of 35 mm and 120 format negatives; and 1 box of 11 oversize prints.)

Type:

Collection descriptions

Archival materials

Contact sheets

Slides (photographs)

Black-and-white negatives

Photographic prints

Place:

New York (N.Y.)

Saint Simons Island (Ga. : Island)

Date:

1963-2009

Summary:

The Diana Davies photographs consist of images taken by Diana Davies at various stages of her career. Locations include the Festival of American Folklife, the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's Campaign, various peace and protest marches and outdoor performances, New York City, and the Georgia Sea Islands. The collection includes contact sheets, negatives, photographic prints, and slides. Original photographs, negatives, and color slides taken by Diana Davies. Materials date from 1963-2009. Bulk dates: Newport Folk Festival, 1963-1969, 1987, 1992; Philadelphia Folk Festival, 1967-1968, 1987.

Scope and Contents:

The Diana Davies photographs, 1963-2009, consist of black and white negatives, contact sheets and prints, as well as color slides and negatives. The bulk of materials depict major festivals and protest movements (including the Poor People's March of 1968) documented by Diana Davies (located in Series 1: Newport Folk Festival, Series 2: Philadelphia Folk Festival, Series 6: Festival of American Folklife, and Series 11: Social Justice). Also well-represented are non-festival performances (in locations such as clubs, concert halls, and homes), recording sessions, and other music-related images, mainly of notable figures in the American folk music revival (located in Series 3: Broadside Magazine, Series 4: Sing Out! Magazine Concerts, Series 5: Miscellaneous Concerts and People, Series 7: Recording Sessions, Series 8: Instruction Book Shots, and Series 9: Jazz, Blues, and Salsa Musicians). Series 10: Georgia Sea Islands consists of photographs depicting the culture, environment, and daily life of these coastal islands in 1966. Series 12: New York City Scenes contains photographs taken on the street depicting everyday life in NYC in the 1960s and 1970s. The collection also contains related papers in Series 13: Miscellaneous Papers and Correspondence.

Arrangement note:

Each item in the Diana Davies Photographs has been assigned an accession number, and like materials have been put together such as the Newport Folk Festival photographs, in a chronological sequence as much as possible. Materials in the three more recent donation batches (1998, 2004, and 2006) were numbered and integrated into the collection. In some series, the accession numbers are in numerical order, and in others, the numbers are random because like items with different number sequences were pulled together in a series for subject coherence. The best way to find occurrences of a particular subject is to use the ctrl+F function. Please consult the archivists if you have any questions about the collection contents.

Contact sheets, slides, and prints arranged in 8 binders; negatives and oversize prints are stored separately.

Arranged in 14 series:

Series 1: Newport Folk Festival

Series 2: Philadelphia Folk Festival

Series 3: Broadside Magazine

Series 4: -- Sing Out! -- Magazine Concerts

Series 5: Miscellaneous Concerts and People

Series 6: Festival of American Folklife

Series 7: Recording Sessions

Series 8: Instruction Book Shots

Series 9: Jazz, Blues, and Salsa Musicians

Series 10: Georgia Sea Islands

Series 11: Social Justice

Series 12: New York City Scenes

Series 13: Miscellaneous Papers and Correspondence

Series 14: Oversize Materials

Biographical/Historical note:

Diana Davies is a well-known photographer of folk performers and festivals. Davies photographed the Smithsonian Folklife Festival in its earlier years. Born in 1938, Davies grew up in Maine, the Catskills, New York City, and Boston. Her grandparents were local union organizers and Debs socialists; one grandfather was a gandy dancer with the railroad, and her grandmother was a textile worker in Massachusetts, New York, and Pennsylvania. Davies finds that her family background was later expressed in her own activist efforts.

Davies left high school at 16, and worked sweeping out coffeehouses, which gave her the opportunity to listen to music while she worked. She became interested in theater and music. In Greenwich Village, she began doing some sound technician work, and then got interested in photography. She taught herself how to develop and print photographs in a darkroom, and began photographing in theaters, shooting from behind the scenes. Her theater photos are at Smith College in Northampton, where she presently lives. In the early 1960s, she began working with the editors of Broadside Magazine, Sis Cunningham and Gordon Friesen. She developed an interest in human rights work, which grew from her contact with Sis and Gordon, and also her own family background. She also worked as a photographer in a wide range of settings, including night clubs, weddings, and doing portrait photography. This led her to work for major national and international media including the New York Times, covering such events as the war in Biafra, and traveling to Mexico, Cuba, and Portugal on assignment.

Davies' folk photographs represent about one-quarter of her body of work; her other major photographic work includes the Civil Rights Movement, the Peace Movement, and theater. Davies began photographing at the Newport Folk Festival in 1964, which she covered for a number of years. She knew Ralph Rinzler, and found him a vibrant, alive person excited by all aspects of culture. He introduced her to Bessie Jones from the Georgia Sea Islands, and in 1966 she made a photographic journey to the islands. Her work from this trip is included in the collection. Davies has also been a musician. She became involved with the punk rock movement of the 1970s, and felt that there was a connection between the hard-hitting songs from the punk world and the songs being published in Broadside Magazine. In 1975, she became part of a folk/punk women's band in Boston, and later moved to Western Massachusetts. In addition to being a photographer and musician, Davies is also a writer. She wrote a play entitled "The Witch Papers" in 1980, which was produced in Boston and other locations. The play was a vehicle for her human rights activism, comparing the technology of inquisition with labor sweatshops. In 1998, her play "The War Machine" was produced in Amherst, Mass. She lives in Northampton, and enjoys and participates in street performance, which she describes as the "most essentially communicative stuff you can come up with."

General note:

All contact sheets from the collection are digitized and accessible through this finding aid. Series-level slideshows accessible through this finding aid represent a small sampling from the collection.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Provenance:

The Smithsonian Ralph Rinzler Folklife Archives and Collections acquired portions of the Diana Davies Photograph Collection in the late 1960s and early 1970s, when Ms. Davies photographed for the Festival of American Folklife. More materials came to the Archives circa 1989 or 1990. Archivist Stephanie Smith visited her in 1998 and 2004, and brought back additional materials which Ms. Davies wanted to donate to the Ralph Rinzler Folklife Archives and Collections. These two more recent donations of additional photographs (contact sheets, prints, and slides) consisted of documentation of the Newport Folk Festival, the Philadelphia Folk Festival, the Poor People's March on Washington, the Civil Rights Movement, the Georgia Sea Islands, and miscellaneous personalities of the American folk revival. In a letter dated 12 March 2002, Ms. Davies gave full discretion to the Center for Folklife and Cultural Heritage to grant permission for both internal and external use of her photographs, with the provison that her work be credited in any use.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Peace movements  Search this

March on Washington for Jobs and Freedom, Washington, D.C., 1963  Search this

Civil rights -- United States  Search this

Genre/Form:

Contact sheets

Slides (photographs)

Black-and-white negatives

Photographic prints

Citation:

Diana J. Davies photographs, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

or

Photo by Diana J. Davies. Ralph Rinzler Folklife Archives and COllections, Smithsonian Institution.

Identifier:

CFCH.DAVIE

See more items in:

Diana Davies photographs

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk59fa9fef6-8287-4b3c-8f47-119c519dd318

EDAN-URL:

ead_collection:sova-cfch-davie

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Blog posts

Smithsonian staff publications

Interviews

Blog posts

Published Date:

Mon, 15 May 2023 05:08:00 GMT

Topic:

Cultural property  Search this

See more posts:

Festival Blog

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

EDAN-URL:

edanmdm:posts_16e31b49daf329b48bb40d518022454a

Creator:

Human Studies Film Archives  Search this

Type:

YouTube Videos

Uploaded:

2015-03-13T01:00:56.000Z

YouTube Category:

Education  Search this

Topic:

Anthropology  Search this

See more by:

HSFAFilmClips

Data Source:

Human Studies Film Archives

YouTube Channel:

HSFAFilmClips

EDAN-URL:

edanmdm:yt_F-Y98CXLdQo

Collection Donor:

Archivo General de Puerto Rico  Search this

Container:

Map-folder 9

Type:

Archival materials

Date:

1978

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.

See more items in:

Puerto Rico Division of Community Education [DIVEDCO] Poster Collection

Puerto Rico Division of Community Education [DIVEDCO] Poster Collection / Series 1: Events / Plays

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep80e8b5695-d129-4c55-a46a-abea073685da

EDAN-URL:

ead_component:sova-nmah-ac-0615-ref987

Artist:

Cortes, Eduardo Vera  Search this

Sponsor:

Puerto Rico. Division of Community Education. Department of Education  Search this

Collection Donor:

Archivo General de Puerto Rico  Search this

Extent:

1 Item (Ink on paper., 72.3 x 48.2 cm.)

Container:

Map-folder 9

Type:

Archival materials

Posters

Screen prints

Place:

Puerto Rico -- 20th century

Date:

1978

Scope and Contents:

This poster advertises a children's puppet show. Besides illustrated books, posters and films, DIVEDCO also produced plays and other performances. (From exhibition text by Marvette Perez.)

Local Numbers:

AC0615-0000001.tif (AC Scan)

1997.3100.11 (Museum Cat. No.)

Exhibitions Note:

In the exhibition "Posters from the Division of Community Education (DIVEDCO) of Puerto Rico, 1948-1989," Sept. 17, 2008-Jan. 18, 2009, at the Smithsonian's S. Dillon Ripley Center.

Collection Restrictions:

Collection is open for research.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Puppet theater  Search this

Politics -- Puerto Rico  Search this

Genre/Form:

Posters -- Puerto Rico

Screen prints

Collection Citation:

Puerto Rico Division of Community Education Poster Collection, 1940-1990, Archives Center, National Museum of American History.

See more items in:

Puerto Rico Division of Community Education [DIVEDCO] Poster Collection

Puerto Rico Division of Community Education [DIVEDCO] Poster Collection / Series 1: Events / Plays

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b655876c-35f6-4b67-8eca-0eb58ecf1f37

EDAN-URL:

ead_component:sova-nmah-ac-0615-ref988

Extent:

1 Sound recording (digital audio file)

Type:

Archival materials

Sound recordings

Date:

2018 July 04

Scope and Contents:

Ashkhen Khudaverdyan; Armen Kirakosyan; In Armenia, as in the wider region embracing the Middle East and Greece, shadow puppet theaters typically perform plays in which a trickster hero (known as Karagyoz) and his more sedate partner experience a series of comic and sometimes rude situations. Although somewhat similar to the shadow theaters of Turkey, Syria, Greece, and Egypt—all of which feature luxurious and colorful puppets—Armenian puppets are relatively simple and colorless, emphasizing the shadow more than the puppet itself. Make your own shadow puppet with members of "Ayrogi" Theater from Yerevan. Activities for all ages. This workshop is made possible by support from the JHM Foundation.

Collection Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.2018, Item SFF2018_0704_Armenia_The_Workshop_0005

See more items in:

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival / Armenia / Audio

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5645626bc-c4ec-43b2-9b13-ad8994497a96

EDAN-URL:

ead_component:sova-cfch-sff-2018-ref1091

Extent:

1 Sound recording (digital audio file)

Type:

Archival materials

Sound recordings

Date:

2018 July 06

Scope and Contents:

Ashkhen Khudaverdyan; Armen Kirakosyan; Artur Kocharyan; In Armenia, as in the wider region embracing the Middle East and Greece, shadow puppet theaters typically perform plays in which a trickster hero (known as Karagyoz) and his more sedate partner experience a series of comic and sometimes rude situations. Although somewhat similar to the shadow theaters of Turkey, Syria, Greece, and Egypt—all of which feature luxurious and colorful puppets—Armenian puppets are relatively simple and colorless, emphasizing the shadow more than the puppet itself. Make your own shadow puppet with members of "Ayrogi" Theater from Yerevan. Activities for all ages. This workshop is made possible by support from the JHM Foundation.

Collection Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.2018, Item SFF2018_0706_Armenia_The_Workshop_0001

See more items in:

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival / Armenia / Audio

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5e8b2626e-872b-49c3-afb6-0aa502169005

EDAN-URL:

ead_component:sova-cfch-sff-2018-ref1154

Type:

Archival materials

Collection Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

See more items in:

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival / Armenia / Audio

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5f57a5aa6-8bfa-49b8-9534-6ef68a58e8bb

EDAN-URL:

ead_component:sova-cfch-sff-2018-ref1234

Extent:

1 Sound recording (digital audio file)

Type:

Archival materials

Sound recordings

Date:

2018 June 27

Scope and Contents:

Ashkhen Khudaverdyan; Armen Kirakosyan; In Armenia, as in the wider region embracing the Middle East and Greece, shadow puppet theaters typically perform plays in which a trickster hero (known as Karagyoz) and his more sedate partner experience a series of comic and sometimes rude situations. Although somewhat similar to the shadow theaters of Turkey, Syria, Greece, and Egypt—all of which feature luxurious and colorful puppets—Armenian puppets are relatively simple and colorless, emphasizing the shadow more than the puppet itself. Make your own shadow puppet with members of "Ayrogi" Theater from Yerevan. Activities for all ages.

Collection Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Collection Citation:

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.2018, Item SFF2018_0627_Armenia_The_Workshop_0003

See more items in:

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival

Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival / Armenia / Audio

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk578e3e343-2f96-433e-a5d3-f2716313033e

EDAN-URL:

ead_component:sova-cfch-sff-2018-ref914

Collection Creator:

Preloran, Jorge, 1933-2009  Search this

Type:

Archival materials

Scope and Contents:

Documentary film explores the work of Héctor di Mauro, an Argentine puppeteer who presents solo shows in remote rural schools and organizes workshops to train new puppeteers. Includes footage of puppet shows, the craft of making puppets, and di Mauro's explanation of how various types of puppets work, as well as a brief history of puppet theater in Europe and Argentina. Film was shot in 1974 and released in 1980 along with an English language version. The HSFA holds two versions.

Series Restrictions:

Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

The Jorge Prelorán films, Human Studies Film Archives, Smithsonian Institution.

Sponsor:

Funding for film preservation and finding aid provided by the Latino Center, Smithsonian Institution.

See more items in:

Jorge Prelorán films

Jorge Prelorán films / Series 1: Completed Films and Videos / 1.1: Films directed by Prelorán

Archival Repository:

Human Studies Film Archives

GUID:

https://n2t.net/ark:/65665/pc9a6405280-b256-407c-8916-0d2ddd457b6e

EDAN-URL:

ead_component:sova-hsfa-2007-10-ref132

Creator:

Inverarity, Robert Bruce, 1909-1999  Search this

Names:

Federal Art Project (Calif.)  Search this

Federal Art Project (Ill.)  Search this

Federal Art Project (Iowa)  Search this

Federal Art Project (N.Y.)  Search this

Federal Art Project (Or.)  Search this

Federal Art Project (Utah)  Search this

Federal Art Project (Wash.)  Search this

Museum of International Folk Art (N.M.)  Search this

Deutsch, Hilda, 1911-  Search this

Duchamp, Marcel, 1887-1968 -- Photographs  Search this

Graves, Morris, 1910- -- Photographs  Search this

Morris, Carl, 1911-1993  Search this

Ray, Man, 1890-1976 -- Photographs  Search this

Tobey, Mark  Search this

Extent:

13.8 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sound recordings

Sketchbooks

Interviews

Photographs

Drawings

Place:

United States -- Economic conditions, 1918-1945 -- Washington (State)

Date:

circa 1840s-1997

Summary:

The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 12.7 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Scope and Content Note:

The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 13.8 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.

Among the biographical information are awards and certificates, biographical and genealogical notes, and educational records. Correspondence concerns Inverarity's activities as Director of the WPA Federal Arts Project in Washington State, 1936-1941. Additional personal and professional correspondence, 1929-1993, documents his activities as a museum director, consultant, collector, and writer. Among the friends and colleagues with whom he corresponded are: Max Ernst and Dorothea Tanning, Rockwell and Sally Kent, Stanton MacDonald-Wright, Wolfgang Palen, Juliet and Man Ray, Mark Tobey, Edward Weston, and various individuals associated with the WPA.

Manuscripts of a few of Inverarity's many articles on topics such as anthropology, museology, and information storage and retrieval are among his writings and notes. Also included are the manuscript of an unpublished book, Tobey Remembered, along with drafts, notes, correspondence, research materials, and photocopies of Tobey's letters to him and others. Other writings consist of book reviews, children's books, a catalog of the Inverarity Collection, and a copy of his 1946 master's thesis, "The Social-Economic Position of the American Artist." Several journals, 1928-1966, survive, including one that records his 1932 trip to study the Haida Indians of the Queen Charlotte Islands.

Subject files include general subjects such as "Folk Art" and "Preservation." Files on the museums where Inverarity was the director contain some official records as well as general information. Art work by Inverarity includes eight volumes of sketch books, 1928-1942, commercial work for Boeing, notes and drawings for book designs. Among the work by other artists are drawings, paintings and prints by friends. Of particular interest are display panels for a small exhibit on airbrush stencil prints produced by the Washington State WPA Federal Art Project. Other noteworthy items are pencil sketches and a watercolor by Mark Tobey, and prints by Hiroshige and Jan Matulka.

Five scrapbooks, 1928-1979, contain newspaper clippings, miscellaneous printed items, and a small number of photographs and letters. Three volumes document his career as an artist and museum director. One consists of biographical information and items designed by Inverarity, and another concerns publication and marketing of his monograph Art of the Northwest Coast Indians.

Sound recordings consist of interviews and conversations. An extensive interview with Inverarity about his life and career was conducted by Craig Gilborn in 1990. Bruce and Jane Inverarity in conversation with former colleague Ernie Johnson and his wife Helen about his departure from the Museum of International Folk Art were recorded in 1980. Also included is a 1981 conversation with Grace T. Stevenson containing references to Mark Tobey and Morris Graves.

Printed material includes many items about or produced by the WPA Federal Art Project. Among the items written by Inverarity are many articles on a wide variety of topics, his book Art of the Northwest Coast Indians, and two published portfolios. Printed material by other authors includes articles, books and reports about or mentioning Inverarity, and books designed or illustrated by him. Among the miscellaneous printed items are catalogs and brochures of the schools where Inverarity taught and studied, and a few ephemeral items designed by him.

Photographs are of art work, people, places, the Washington State WPA Federal Art Project, and miscellaneous subjects. All photographs known to be by Inverarity are clearly marked. Art work includes views of Inverarity's collection of his own work and that of other artists hanging in his home. Photographs of people include artists, friends, colleagues, and various groups. Of special interest are Inverarity's portraits of artists, among them Marcel Duchamp, Max Ernst, Morris Graves, Hilaire Hiler, Rico Le Brun, Stanton Macdonald-Wright, Man Ray, Dorothea Tanning, and Mark Tobey. Photographs of places include the museums where Inverarity was director, places in which he lived, and travel pictures. Of note are a large group of photographs (copy prints) taken in 1932 while studying the Haida Indians in British Columbia. Nineteenth century photographs of family homes, Europe, and South America may have been taken by his father. Photographs of the Washington State WPA Federal Arts Project are of individual works of art, exhibition installations, mosaic procedures and local art centers. Many, probably intended for display, are mounted in groups on large cardboard panels. Miscellaneous subjects include art photographs by Inverarity and the microreader he invented.

Arrangement:

The collection is arranged as nine series. Correspondence is in chronological order, Biographical Information and Subject Files are arranged alphabetically by folder title. Other series have been organized into subseries and arrangement is as described in the Series Descriptions/Container List below. Unless noted otherwise, material within folders is arranged chronologically.

Missing Title

Series 1: Biographical Information, 1934-1997, undated (Box 1, OV 18; 0.25 linear ft.)

Series 2: Correspondence, 1928-1993, undated (Box 1; 0.75 linear ft.)

Series 3: Writings and Notes, 1928-1993, undated, (Boxes 2-3; 1.5 linear ft.)

Series 4: Subject Files, 1938-1990, undated (Boxes 3-6, OV 19-20; 2.5 linear ft.)

Series 5: Art Work, circa 1840s-1969, undated (Boxes 6, 12, 16, OV 21; 1.3 linear ft.)

Series 6: Scrapbooks, 1928-1991, undated (Boxes 7-8; 1.1 linear ft.)

Series 7: Sound Recordings, 1980-1990 (Box 8; 3 folders)

Series 8: Printed Material, 1902-1995, undated (Boxes 8-13, OV 22; 3.4 linear ft.)

Series 9: Photographs, circa 1870s-1990, undated (Boxes 11, 14-17, OV 23; 3.0 linear ft.)

Biographical Note:

Robert Bruce Inverarity (1909-1999) showed artistic leanings as a boy, and from an early age was fascinated by puppetry and Northwest Coast native culture. During much of his youth, Inverarity's family lived in Canada, but returned to their native Seattle when he was a teenager. After graduating from high school, he made a 500 mile journey on foot along the coasts of the Vancouver Islands, collecting Indian artifacts and studying the area's tribal legends.

He studied briefly with Mark Tobey in Seattle, where the two shared a studio; when Tobey departed for Chicago, Inverarity succeeded him as an art teacher at the Cornish School. He spent the next few years in California working as an artist, exhibiting, and occasionally teaching. From there, he moved to Vancouver where he was Director of the School of Creative Art. In 1932, Inverarity made a three month trip to the Queen Charlotte Islands, British Columbia, for the purpose of studying the Haida Indians.

Upon his return to the United States in 1933, Inverarity joined the University of Washington Drama School as a puppetry instructor; in 1938 he published a highly regarded Manual of Puppetry. During 1936-37, he took a leave of absence from the university to assume the position of State Director of the Federal Art Project, where he remained until 1939. He then became State Director of the Art and Crafts Project (1939-1941). The U.S. Navy appointed Inverarity Chief of Design for Camouflage (1941-1943) and he later served as an Official Navy War Artist (1943-1945).

During his early years as a teacher and administrator, Inverarity continued making art and participated in a wide variety of exhibitions. He published a portfolio, 12 Photographs by R. B. Inverarity (1940). In the following year, Movable Masks and Figures of the North Pacific Coast Indians, a portfolio of his watercolors reproduced as silkscreen prints, appeared. Although Inverarity stopped exhibiting in 1941, he continued to produce art; notable work of this period includes photographic portraits of a number of artist friends (Max Ernst, Dorothea Tanning, Marcel Duchamp, and Man Ray).

After World War II, Inverarity completed his formal education. He earned a Bachelor's degree in art and anthropology from the University of Washington (1946), and then studied with Hilaire Hiler at Freemont University in Los Angeles, where he was awarded a Master's degree in fine arts (1947) and a Ph.D. (1948).

Inverarity began his museum career in 1949 when he was appointed the first director of the Museum of International Folk Art in Santa Fe, New Mexico, a position that combined his interest in, and knowledge of, anthropology and art. While in Santa Fe, he published Art of the North West Coast Indians (1950). During his five year tenure as director, the museum participated in a pilot study for coding visual files, a project of the anthropological group, Human Resources Area Files, Inc. When Inverarity was dismissed from the Museum of International Folk Art in 1954, most of the staff resigned in protest, and the American Association of Museums investigated the situation.

Inverarity then became the first director of the Adirondack Museum, Blue Mountain Lake, New York, where he remained for eleven years. In addition to planning the museum's building, and developing collections and programs, Inverarity continued his involvement with the visual files project of the Human Resources Area Files, Inc., studying information storage and retrieval, developing a "microreader," and publishing Visual Files Coding Index (1960). In addition, he published many articles on a variety of topics and was active in organizations for anthropologists and museum professionals.

After his 1965 departure from the Adirondack Museum, Inverarity went to California and worked as an illustrator and book designer at the University of California Press. He returned to the east coast in 1969 to assume the directorship of the Philadelphia Maritime Museum. During this period, he remained active in professional associations and traveled to study museums abroad. He retired in 1976 and moved to La Jolla, California.

Robert Bruce Inverarity died in 1999.

Separated Material:

Originals of most of the drawings and sketches loaned by Mr. Inverarity were returned to him after filming and were not subsequently donated. This material is available on 35 mm microfilm reel D/NDA/I, frames 392-409.

Provenance:

Robert Bruce Inverarity donated his papers to the Archives in several installments between 1965 and 1993. Additional papers were received from his estate in 1999. He also loaned a small number of additional drawings and sketches for microfilming which were returned to him. A few of these drawings were included with the papers he subsequently donated to the Archives of American Art.

Restrictions:

The collection is open for research. Use requires an appointment.

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:

Arts administrators  Search this

Painters  Search this

Topic:

Puppet theater  Search this

New Deal, 1933-1939 -- Washington (State)  Search this

Works of art  Search this

Federal aid to the arts -- Washington (State)  Search this

Art and state -- Washington (State)  Search this

Genre/Form:

Scrapbooks

Sound recordings

Sketchbooks

Interviews

Photographs

Drawings

Citation:

Robert Bruce Inverarity papers, circa 1840s-1997. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.inverobe

See more items in:

Robert Bruce Inverarity papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9460b503e-0657-430a-9244-ead53bd5066f

EDAN-URL:

ead_collection:sova-aaa-inverobe

Collection Creator:

Thomas, Alma  Search this

Container:

Box 2, Folder 34

Type:

Archival materials

Date:

circa 1998

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.

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:

Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of the Alma Thomas paper is provided by The Walton Family Foundation and The Friends of Alma Thomas

See more items in:

Alma Thomas papers

Alma Thomas papers / Series 3: Notes and Writings / 3.3: By Others

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw970259d33-d961-4051-a92e-46af8239db8b

EDAN-URL:

ead_component:sova-aaa-thomalma-ref790

Creator:

McPharlin, Paul, 1903-1948  Search this

Extent:

5,000 Items ((on 11 microfilm reels))

Type:

Collection descriptions

Archival materials

Date:

1905-1956

Scope and Contents:

Writings on puppetry by McPharlin and others, 1879-1956; clippings concerning puppetry; puppet playscripts by McPharlin and others, 1915-1949; exhibition catalogs, programs, and photos from puppetry festivals and conferences, 1921-1952; Punch and Judy playscripts, bibliography, cartoons, and clippings, 1705-1951; correspondence, including some regarding the history of Punch and Judy puppets, 1927-1951; research material for PUPPETRY IN AMERICAN LIFE, and THE PUPPET THEATER IN AMERICA; and miscellany.

Biographical / Historical:

Puppeteer, Detroit, Mich.

Provenance:

The Paul McPharlin papers were endowed to the Detroit Institute of Art by Mr. and Mrs. W. H. McPharlin and Majorie Batchelder McPharlin.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

Designers -- Michigan -- Detroit  Search this

Puppeteers -- Michigan -- Detroit  Search this

Topic:

Puppet festivals  Search this

Puppet making  Search this

Identifier:

AAA.mcphpaul

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9680eaf4f-c381-4238-865e-8e4e976b2cd9

EDAN-URL:

ead_collection:sova-aaa-mcphpaul

Collection Creator:

Tremaine, Emily Hall, 1908-1987  Search this

Container:

Box 3, Folder 67

Type:

Archival materials

Date:

1970-2004

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.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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:

Emily Hall Tremaine papers, circa 1890-2004. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the The Brent R. Harris Charitable Fund. Funding for the digitization of the papers was provided by the Emily Hall Tremaine Foundation. Researchers are invited and encouraged to inform the Emily Hall Tremaine Foundation of publication efforts at collection@tremainefoundation.org.

See more items in:

Emily Hall Tremaine papers

Emily Hall Tremaine papers / Series 4: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw993774a82-4a90-47b7-8129-f0f9cf261287

EDAN-URL:

ead_component:sova-aaa-trememil-ref877

Collector:

Odell, Scott, 1935-  Search this

Names:

Bread and Puppet Theater  Search this

Festival of American Folklife  Search this

Smithsonian Folklife Festival  Search this

Porter, Burt, 1937-  Search this

Former owner:

National Museum of American History (U.S.). Division of Musical History  Search this

Extent:

18 Cubic feet

Type:

Collection descriptions

Archival materials

Field notes

Audiotapes

Posters

Reports

Correspondence

Photographs

Place:

Appalachian Region

North Carolina

Virginia

Vermont

Date:

1964-1977

Summary:

The J. Scott Odell folk music collection (1945-2016, inclusive) contains AV recordings, photographs, correspondence, writings, and other materials relating to Odell's career at the Smithsonian as a musical instrument conservator and researcher of American music traditions. The collection largely consists of materials relating to Odell's research trips (often combined with personal visits) throughout the Eastern United States. Research strengths of the collection include the history of the Appalachian dulcimer and banjo, the Smithsonian Folkways project "Black Banjo Songsters," musician and poet Burt Porter, and the Bread and Puppet Theater.

Scope/Contents note:

The J. Scott Odell Folk Music Collection, which includes materials dating from 1945-2016, documents the research, professional work, and personal relations of J. Scott Odell (b. 1935). Odell worked at the Smithsonian National Museum of American History (NMAH) as a musical instrument conservator and traveled throughout the Eastern United States documenting a variety of musical instruments and traditions. The collection reflects his research trips and other travels; the development of exhibits and performance of music and dance at the Smithsonian; and the relationships Odell developed with the musicians, craftspeople, informants, and other people he worked with throughout his career.

Research strengths of this collection include notes, photographs, and recordings from Odell's fieldwork; extensive documentation of Odell's work on the Smithsonian Folkways project Black Banjo Songsters, in collaboration with folklorist Cecelia Conway; and materials pertaining to the Bread and Puppet Theater (based in Glover, Vermont). Significant places documented include southwest Virginia (Galax), nearby North Carolina (Shelton-Laurel), the surrounding tri-state area, and Vermont (Glover). Significant individuals represented in the collection include Odell, Burt Porter, Ralph Rinzler, and other well-known musicians. The most prominent instrument information in the collection relates to the banjo and the Appalachian dulcimer, although the American fiddle tradition and other instruments are also represented. Materials include photographs (negatives and prints), field notes, trip reports, correspondence, slides, writings, and AV materials. This collection may also be of interest to researchers of AV history and evolution. The wide variety of formats found in the collection maps the development of popular recording media. The collection includes open-reel tapes, Hi-8 tapes, DATs, mini-DV tapes, Betacam and Betacam SP tapes, VHS and SVHS tapes, cassettes, optical discs, mini-discs, and Zip discs.

This collection was initially established in 2008, when it was transferred from Archives Center at the Smithsonian National Museum of American History (NMAH) to the Ralph Rinzler Folklife Archives & Collections (RRFAC), Center for Folklife and Cultural Heritage (CFCH). (NMAH Archives Center had received the collection from the Division of Musical History.) Since 2008, the collection has been significantly expanded, more than doubling in size between 2008 and 2016. (These additional materials can be found in Series 8, Accruals.) With these deposits, the scope of the collection expanded beyond Odell's Appalachian dulcimer research and instrument conservator duties to include his banjo research, travels, relationships with musicians (particularly Burt Porter), and involvement with the Bread and Puppet Theater.

Arrangement note:

The collection is arranged in eight series as follows: (1) Correspondence, 1963-1978; (2) Folk Instruments Research; (3) Collected Publications and Ephemera; (4) Collecting Trips; (5) Publications; (6) Sound Recordings; (7) Oversize Materials; and (8) Accruals. Within each series and subseries, folders are arranged thematically, alphabetically, and/or chronologically.

Series 1-7 reflect the order of the original transfer from the Archives Center, National Museum of American History. Series 8 (Accruals) encompasses several deposits made by Scott Odell of additional materials between 2011 and 2017. Ralph Rinzler Folklife Archives staff, in collaboration with Odell, imposed order upon Series 8.

Researchers should note that, when performing research in Series 8 (Accruals), they might need to consult multiple boxes, even when working within a single subseries where the intellectual arrangement in the finding aid does not always align with the physical arrangement of the materials. This separation between the intellectual and physical arrangement is due in part to the order in which RRFAC received each deposit, the format of the materials (i.e., papers vs. photographs vs. AV items), and earlier digitization efforts.

Biographical/Historical note:

Jay Scott Odell (b. 1935) was born in St. Paul, Minnesota, to Adalberta Lavoie Odell and Jay Geddes Odell. The family moved frequently throughout his childhood, resulting in Odell having lived at fourteen different addresses and attending seven different schools by the time he graduated high school in 1953. When the family settled in Mamaroneck, New York, in 1950, Odell met poet Peter Kane Dufault, and musician and poet Burt Porter, two figures who would go on to strongly influence his personal and professional development. It was on the advice of Dufault, for example, that Odell apprenticed with harpsichord-maker William Dowd after college.

Odell attended Middlebury College where he met his future wife, Dorothy "Dottie" Hiebert. After graduating in 1957, Hiebert moved to France and Odell took a position on the boat of Dutch writer Jan DeHartog before joining Hiebert to travel Europe. By 1959, they had returned to the United States (Boston, Massachusetts) and married. It was at this point in their lives that they became active in the peace movement and the early Folk Revival. Odell's relationship with Burt Porter continued, and he developed contacts with other musicians including Peter and Polly Gott, Tom "Tom Banjo" Azarian, Mike Seeger, and Tracy Schwartz. The Odells also became involved with the Bread and Puppet Theater group, founded by Peter and Elka Schumann, which established its primary location in Glover, Vermont, near Porter's property.

Odell is particularly notable for his work in musical instrument conservation at the Smithsonian Institution and his involvement in the development of the Smithsonian Folklife Festival. In 1963, following his harpsichord apprenticeship with William Dowd, Odell was hired by the Smithsonian as a musical instrument conservator. Under Cynthia Hoover and C. Malcolm Watkins, he established a restoration workshop for musical instruments at the National Museum of History and Technology, now the National Museum of American History. Over the course of his career, Odell served not only as a conservator but also as head of a technical laboratory and, eventually, as the first director of conservation at the National Museum of American History.

Odell was a key figure in the shifting philosophy of the musical instrument department regarding its collections and acquisition practices. With Hoover, Odell helped establish and facilitate a concert series with the mission of "[taking] the instruments out of their cases and [letting] them sing" – a major innovation in museum programming. Odell's commitment to bringing music history and traditions to life manifested in the expansion of the Smithsonian concert series, his relationship with Ralph Rinzler, and his early involvement with the Festival of American Folklife, now the Smithsonian Folklife Festival.

Although his professional training was in working with historical keyboard instruments, Odell's lifelong interest in traditional and regional music had a significant impact on his career. Between 1964 and 1977, when Odell was head of the laboratory at the Smithsonian Institution's Division of Musical Instruments, he undertook a series of collecting trips throughout the Eastern United States to expand the Division's collection of traditional American instruments.

In 1964, Odell and Porter attended the Annual Galax Old Time Fiddlers Convention. Following this initial trip, Hoover and Watkins supported Odell's efforts to, in addition to acquiring objects for the collection, research and record the cultural contexts of those instruments. Over the course of these trips, Odell built personal relationships with many of the musicians and craftspeople with whom he worked, including the Melton-Russell family, Tommy Jarrell, and Fred Cockerham.

Odell retired in 1993, but continued contract work at the Smithsonian. Working for the National Museum of American History, he assisted with the care and description of the Museum's banjo collection, as well as the acquisition of the Grimes and Jeffries dulcimer collection. He has also maintained associations with the Smithsonian Center for Folklife and Cultural Heritage. In 1998, Odell co-produced a record through Smithsonian Folkways with folklorist Cecelia Conway titled "Black Banjo Songsters," which focused on the African American banjo tradition and featured many of the artists with whom Odell had built relationships.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Related Materials note:

Materials relating to Odell's career at the Smithsonian can also be found in the Smithsonian Institution Archives (SIA), particularly in the records of the NMAH Musical History Division.

Materials relating to the Bread and Puppet Theater can also be found in the archives of the Bread and Puppet Theater (via the Internet Archive); the University of Vermont; and the University of California, Davis.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Folk music—United States  Search this

Stringed instruments  Search this

Fiddle  Search this

Mouth bow  Search this

Folk music  Search this

Musicians  Search this

Banjo  Search this

Appalachian dulcimer  Search this

Folklore  Search this

Genre/Form:

Field notes

Audiotapes

Posters

Reports

Correspondence -- 1930-1950

Photographs -- 1960-1980 -- Black-and-white photoprints -- Silver gelatin

Citation:

J. Scott Odell folk music collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ODEL

See more items in:

J. Scott Odell folk music collection

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5e8174ac9-2f64-4526-96d0-228a548d9788

EDAN-URL:

ead_collection:sova-cfch-odel

Collection Creator:

Donaldson, Jeff, 1932-2004  Search this

Container:

Box 4, Folder 12

Type:

Archival materials

Date:

circa 1969-1971

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings and born-digital records with no duplicate access copies requires advance notice.

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:

Jeff Donaldson papers, 1918-2005, bulk 1960s-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of the Jeff Donaldson papers was provided by the Walton Family Foundation.

See more items in:

Jeff Donaldson papers

Jeff Donaldson papers / Series 5: Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98862df92-a960-4667-a706-3a947484b5c2

EDAN-URL:

ead_component:sova-aaa-donajeff-ref107

Collection Creator:

Laughlin, Robert M.  Search this

Container:

Box 71

Type:

Archival materials

Date:

1984-1985

Collection Restrictions:

The Robert Moody Laughlin papers are open for research.

Electronic media is currently restricted due to preservation concerns.

Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Film Collection may not be played.

Access to the Robert Moody Laughlin papers requires an appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

Robert Moody Laughlin papers, National Anthropological Archives, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the the Arcadia Fund.

See more items in:

Robert Moody Laughlin papers

Robert Moody Laughlin papers / Series 8: Correspondence

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw37581814f-11fa-4bf7-9e50-9c70b62cc455

EDAN-URL:

ead_component:sova-naa-2011-06-ref492

Producer:

Jairazbhoy, Nazir Ali, 1927-2009  Search this

Creator:

Film/Monograph Series  Search this

Extent:

1 Item (sound-tape reel, analog, 10 in.)

Culture:

Rajasthani  Search this

Type:

Archival materials

Place:

India

Rajasthan (India)

Contents:

RAJASTAN PUPPETRY; R 1 OF 2; 12" R

Local Numbers:

FP-1988-10RR-0001

Publication, Distribution, Etc. (Imprint):

India Film/Monograph Series

Date/Time and Place of an Event Note:

Recorded in: Rajasthan (India), India.

Restrictions:

Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Theater  Search this

Motion picture soundtracks  Search this

Puppet theater  Search this

Indians  Search this

Identifier:

CFCH.AVPR, Item FP-1988-10RR-0001

See more items in:

CFCH Audiovisual Projects

CFCH Audiovisual Projects / Audio Recordings / Kathputli Puppetry

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk50a39102b-e53a-4477-88cf-679a5a98651c

EDAN-URL:

ead_component:sova-cfch-avpr-ref237