The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1992 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: The Changing Soundscape in Indian Country
Series 3: Creativity and Resistance: Maroon Culture in the Americas
Series 4: New Mexico
Series 5: Workers at the White House
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1992 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The Columbus Quincentenary that was commemorated in 1992 gave pause to reflect on the forces that over the preceding 500 years had shaped social life in the Americas. The Festival programs on New Mexico, Maroons, and American Indian musics illustrated important historical and ongoing processes through which communities establish cultural identities in complex and dynamic social circumstances.
"The Changing Soundscape in Indian Country," produced jointly with the National Museum of the American Indian, explored ways that Indian musicians and their communities creatively adapted elements from the musical traditions brought to this continent from Europe, Africa, and elsewhere. Although many of the forms of this Indian music are non-Indian in origin, the themes and performance styles clearly address Indian experience and aesthetic expectations. In their creative hands, as Festival visitors could experience first-hand, external musical influences became part of the self-definition of Indian identity and trenchant commentary on what had been happening in "Indian Country" over the past five centuries.
Nowhere is the connection between creativity and self-definition more clear than in the cultural identities of contemporary Maroon peoples, whose ancestors escaped plantation slavery in the Americas and founded independent societies. Faced with the task of constructing and defending their positions, Maroons creatively defined themselves from a variety of sources. While their political institutions, expressive arts, religions, and other social forms were predominantly African in origin, they drew from a broad range of African cultures, and from European and Native American cultures as well. Much of the aesthetic component of Maroon cultures - their vibrant traditions of verbal and visual arts, shared with Festival visitors on the National Mall - encourages the cohesiveness of their society and voices themes that embody common experience and interest.
The Spanish Conquest established the Western Hemisphere's European presence and its most widely spoken language. While the original conquerors' culture did not value the Native cultures it encountered, over the centuries segments of Hispanic and Native American and later English-speaking and other populations engaged one another, by necessity, in ways that gave rise to today's rich array of cultural identities. New Mexico's distinctive cultural landscape took shape in this way, represented by some peoples who sustain their cultural identities through centuries-old combinations of Indian and European forms of thought and action, and by others whose basis of identity lies in reaffirming the wisdom and relevance of ancestral ways. Festival visitors could witness how, in New Mexico, cultural identity reflects the changes that continue to be wrought from the varieties of these social encounters.
The 1992 Festival also marked the 200th anniversary of the White House. Not a king's palace but rather "the people's house," the White House is at once national symbol, executive office and conference center, ceremonial setting, museum, tourist attraction, and family residence. The Festival revealed the culture of White House workers, who supported this broad array of functions over a span of history shaped by remarkable events, people and social change. White House workers had made the White House work with their labor and dedication. The Festival's living exhibition presented some of the skills, experiences, and values through which they gave shape to their occupational identities, calling visitors' attention to an important human component of the 200 year institutional history.
The 1992 Festival took place during two five-day weeks (June 25-29 and July 2-5) between Madison Drive and Jefferson Drive and between 10th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).
The 1992 Program Book included schedules and participant lists for each program; keynote essays provided background on the Festival and each of the four programs, with shorter essays spotlighting particular traditions and offering a forum for statements from Maroon spokespeople.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.
Center for Folklife Programs & Cultural Studies
Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordings; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Director, Quincentenary Projects; Richard Kennedy, Program Analyst; Vivian Chen, Diana Baird N'Diaye, Folklorists; Ken Bilby, Marjorie Hunt, Curators; Carla Borden, John Franklin, Program Managers; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Betty Belanus, Frank Proschan, Nicholas Spitzer, Research Associates
Folklife Advisory Council
Roger Abrahams, Jacinto Arias, Jane Beck, Pat Jasper, Barbara Kirshenblatt-Gimblett, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, John Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez
National Park Service
James M. Ridenour, Director; Robert G. Stanton, Regional Director, National Capital Region
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.
Forms Part Of:
Smithsonian Folklife Festival records: 1992 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1976 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 9 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: African Diaspora
Series 3: Children's Program
Series 4: Family Folklore
Series 5: Festival Stage
Series 6: Native Americans
Series 7: Old Ways in the New World
Series 8: Regional America
Series 9: Working Americans
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1976 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The Festival of American Folklife's first decade culminated with the Bicentennial Festival of American Folklife that took place for twelve weeks in the summer of 1976, from June 16 to September 6 (programs typically ran from Wednesday through Sunday each week). More than 5000 participants took part over the course of the summer. The 1976 Festival involved the participation of every region of the United States, 38 foreign governments, scores of American Indian tribes, and many labor organizations. Some 4.5 million people attended the Festival.
The Bicentennial Festival resulted from the collaboration of the Smithsonian with thousands of national and international scholars, community spokespeople, and cultural exemplars involved in the documentation, presentation, transmission, and conservation of cultural traditions. Preceding the Festival were several years of establishing cultural networks, training students, and providing opportunities for diverse peoples to interpret and present their traditions. The Bicentennial also saw the flowering of a touring program, begun in 1973, in which foreign groups at the Festival subsequently toured the United States. Scores of groups from the African Diaspora and Old Ways in the New World programs gave some 200 performances in 50 cities and towns across the U.S.
The 1976 Festival again took place in the western part of the National Mall to the south of the Reflecting Pool, between 17th and 23rd Streets (see site plan). It was co-organized by the Smithsonian Institution, Division of Performing Arts (James R. Morris, Director; Richard Lusher, Deputy Director) and the National Park Service (Gary Everhardt, Director). Ralph Rinzler was Director of the Festival, and Bess Lomax Hawes and Robert Byington were Deputy Directors of the Festival. Tom Vennum served as Ethnomusicologist, and Frank Proschan as Archivist. The Bicentennial Festival was sponsored by American Airlines and General Foods.
The 1976 Festival again featured seven thematic programs, complemented by a Festival Stage. African Diaspora featured different countries every two weeks. The Festival Stage brought together participants from other areas and - for the last four weeks - its own dedicated performers. Native Americans changed focus by region every week; similarly, Old Ways in the New World changed focus by country every week. Regional America (June 16-August 8) changed focus by region every week, and Working Americans changed focus by theme every two weeks, with an expanded program on Transportation the last four weeks (August 11-September 6).
The 1975 Program Book provided information on each of the programs. Biweekly, a Program Supplement provided schedules and participant information.
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.
Forms Part Of:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Related Materials:
See the United States Information Agency film production "Festival of Understanding", collection at the National Archives and Records Aministration in record referenced here: https://catalog.archives.gov/id/54029 . Additional outtake reels stewarded by NARA: 306.8078x1 - Senegal (1 ORSK Reel); 306.8078x2 - Yoruba (1 ORSK Reel); 306.8078x3 - Liberia (1 ORSK Reel); 306.8078x4 - Zaire (4 ORSK Reels); 306.8078x5 through 306.8078x11 - Festival Footage - unidentified (1 ORSK Reel each); 306.8078x12- Festival Footage - "Burning the Bush" (1 ORSK Reel; 1 MAG Reel); 306.8078x13 - Hindu Music (1 MAG Reel); 306.8078x14 - "Liberian Repeat" (1 MAG Reel); 306.8078x15 - Senagalese Wild Track (1 MAG Reel)
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.
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.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
Smithsonian Institution. Program in African American Culture Search this
Extent:
100 Cubic feet (309 boxes)
Type:
Collection descriptions
Archival materials
Audiocassettes
Audiotapes
Videotapes
Photographs
Date:
1850-2004, undated
Summary:
The collection primarily documents the activities of the National Museum of American History's Program in African American Culture (PAAC) dating from 1979 through 2004. The Program in African American Culture (PAAC) created public programs documenting the black experience in the United States, as well as, other countries. Archival materials include photographs, programs, administrative files, magnetic tape, audiocassettes, U-matic and VHS video cassettes.
Scope and Contents:
The collection consists primarily of administrative files, audio, video, and photographic documentation of the programs presented by the Program in African American Culture (PAAC) from 1979 through 2004. There is a substantial amount of material documenting research conducted by the Program in African American Culture (PAAC) for its programming. In addition, administrative paperwork relating to the day-to-day activities of the Program in African American Culture (PAAC) are also included in the materials.
The collection is divided into four series. Series one consists of the material created for each program and is arranged in chronological order. Series two contains background materials and publications relating to subjects of program interest and is arranged in alphabetical order. Series three includes correspondence, contracts, resumes of presenters and performers and other forms of administrative files. Series four are materials relating to Smithsonian Institution or outside programs and performances.
Arrangement:
The collection is arranged into four series.
Series 1, Programs Files, 1979-2004, undated
Series 2, Research Files, 1850-1995, undated
Series 3, Administrative Files, 1850-1995, undated
Series 4, Interviews, Speaking Engagements and Performances, 1964-2000, undated
Biographical / Historical:
The Program in African American Culture (PAAC) is a Smithsonian Institution research and programming office located in the National Museum of American History that was created as an outgrowth of the African Diaspora component of the 1975 and 1976 Festival of American Folklife. Founding director, Bernice Johnson Reagon, developed the Program in Black Culture, as the PAAC was originally, as a center for researching and presenting topics of interest to the study of African American history and culture. Reagon is a song leader, composer, scholar, and social activist, who was a founding member of the Student Nonviolent Coordinating Committee (SNCC) Freedom Singers in the Albany Movement in Georgia. The Program, which was transferred to the National Museum of American History in 1983, provided, and continues to provide, a forum for the presentation of traditional and historical forms of African American cultural expression. To accomplish this, Program in African American Culture (PAAC) staff conducted thorough research, which resulted in public programs including conferences, concerts, colloquia, and seminars on a wide range of topics.
Related Materials:
Archives Center, National Museum of American History
Duke Ellington Collection (NMAH.AC0301)
Ruth Ellington Collection of Duke Ellington Materials (NMAH.AC0415)
Eugene D. Smallwood Gospel Music Collection (NMAH.AC0456)
Wade in the Water Radio Series Collection (NMAH.AC0516)
Moses Moon Civil Rights Movement Audio Collection (NMAH.AC0556)
Bernice Reagon Johnson Collection of African American Sacred Music (NMAH.AC0653)
Edward and Gaye Collection of Duke Ellington Materials (NMAH.AC0704)
Ed King Collection of Civil Rights Material (NMAH.AC0559)
Smithsonian Institution
Ralph Rinzler Folklife Archives and Collections
Smithsonian Folklife Festival records: 1969 Festival of American Folklife (CFCH.SFF.1969)
Smithsonian Institution Center for Folklife and Cultural Heritage, June 25-July 6, 1997 (CFCH.SFF.1997)
Diana Davies Photographs (CFCH.DAVIE)
Smithsonian Institution Archivesemph>
Oral History Interview with Bernice Reagon Johnson, 1986
(Accession 009612)
National Museum of American History, Program in African American Culture, 1982-2002 (Accession 05-116)
National Museum of American History, Program in African American Culture, 1983-2004 (Accession 06-002)
National Museum of American History, Program in African American Culture, 1972-1999 (Accession 08-107)
National Museum of American History, Program in African American Culture, 1975-2000 (Accession 12-102)
National Museum of American History, Program in African American Culture, 1976-1999 (Accession 12-358)
National Museum of American History, Program in African American Culture, 1980-1992, 1961 (Accession 96-147)
Duke Ellington Collection Records, circa 1985-1993 (Accession 98-129)
National Museum of American History, Program in Black American Culture, circa 1976-1987 (Accession 98-136)
Smithsonian Institution. Division of Performing Arts (Accession 84-012)
Provenance:
Collection created by the Program in African Amerian Culture at the Smithsonian Institution from 1979-1986.
Restrictions:
Collection is open for research. Access and use of audiovisual materials available in the Archives Center reading room or by requesting copies of audiovisual materials at RightsReproductions@si.edu
Rights:
Copyright restrictions exist. Collection items available for reproduction Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The Paul Ryan papers measure 19.7 linear feet and document Ryan's education and career as a pioneering video artist, theorist, writer, and educator. Records include school records, family papers, correspondence, writings, project files, video recordings, teaching files, printed materials, scattered photographs, and artwork by others. Organizational records are also found for the Earthscore Foundation, Earth Environmental Group, the Gaia Institute, and the Raindance Corporation, among others. The bulk of Ryan's professional work is documented in his writings and project files.
Scope and Contents:
The Paul Ryan papers measure 19.7 linear feet and document Ryan's education and career as a pioneering video artist, theorist, writer, and educator. Records include school records, family papers, correspondence, writings, project files, video recordings, teaching files, printed materials, scattered photographs, and artwork by others. Organizational records are also found for the Earthscore Foundation, Earth Environmental Group, the Gaia Institute, and the Raindance Corporation, among others. The bulk of Ryan's professional work is documented in his writings and project files.
Biographical materials include family papers, early correspondence among Ryan family members, school records, selective service records, photographs of Paul Ryan, and career documentation such as résumés, CVs, recommendation letters, and narratives written by Ryan describing his career. Records related to Ryan's time in the seminary and monastery include letters home during this period, and his letter of resignation from 1965.
Correspondence is mainly professional in nature, and spans Ryan's career. Correspondence between Ryan and family members is also found. Professional correspondence is found with Myrdene Anderson, Peter Berg of Planet Drum, Morris Berman, Avery Johnson, Marga Bijvoet, Thomas Berry, Lois Bianchi, David Dunn, Roberta Kevelson, Gerrit Lansing, Aldo Lira, Oliver Lowenstein, Chip Lord, Claude Ponsol, Jody Procter, Jodi Sibert, Phyllis Gershuny Segura, Michael Shamberg, and Marita Sturken. Corporate correspondence is found regarding job applications, manuscript submissions to publishers, and video submissions to museums and broadcasters.
Writings include mainly articles and notebooks by Ryan, but also drafts of books, lectures, poetry, short stories, a treatment for a television show, and writings by others in various genres. Most of Ryan's prose writing is theoretical in nature, although personal writings and notes from projects are also found. Articles include both published and unpublished writings, with some published multiple times under different titles. Over one hundred notebooks spanning forty years contain a variety of content including drafts of letters, articles, grant proposals, lectures, and other writings. Ryan's two major publications, Cybernetics of the Sacred and Video Mind, Earth Mind, are documented with drafts, contracts, correspondence with publishers, layout documents, and notes.
Organizational records include writings, correspondence, printed material, financial records, grant proposals, and other records concerning various organizations, collectives, and companies in which Ryan participated, mostly having to do with environmental advocacy, video production, or a combination of the two. Organizations with substantial records in this series include the Earth Environmental Group, the Earthscore Foundation, Environment '89 (and '90, '91, and '92), the Gaia Institute, and the Raindance Corporation, among others. Documentation is most comprehensive for The Earthscore Foundation, including by-laws, grant proposals, extensive writings, financial records, and printed materials.
Project files contain video recordings, production notes, photographs, proposals, correspondence, a computer program designed by Ryan, prints for exhibition, illustrations and designs, posters, circulars, contracts, and scripts. Many of the projects documented in this series relate to Ryan's many explorations of the use of video to monitor and interpret two seemingly different subjects, environmental change and human behavior in relationships, expressed through a ritual of interaction among three persons designed by Ryan and called "Threeing," or "Triadic Behavior." The most thoroughly documented projects in this series include "Nature in New York City," "New York City Eco-Channel for Sustainable Television (NEST)," Talking Wood (a publication that incorporated the project "Watershed Watch"), "Inventing Triadic Behavior" (also known as the "Triadic Tapes"), "Tethys"(with artist Bob Schuler), and "Video Wake for my Father," a performance for video that saw many iterations, including a private performance, a public performance, an edited video program, and a published script.
Video recordings are found for three projects, including "Nature in New York City," "Inventing Triadic Behavior," and a threeing workshop held at the Kitchen entitled "Video Variations on Holy Week." A printout of records in a videotape database kept by Ryan is found in this series, with a proposal for video preservation; the list of tapes includes those found in the collection as well as tapes not extant.
Teaching files include documentation of Ryan's work at Dalton School, Hudson School, the New School for Social Research, and Savannah College of Art and Design, and many other workshops and training programs Ryan taught. Included are grade books, correspondence, curricula, training materials, and reports. Two of his programs, the Black Rock Rangers at the Dalton School, and the Urban Conservation Corps Pilot Video Program involve the implementation of the Earthscore Notational System in school curricula.
Printed material includes books, newspaper clippings, conference programs and published proceedings, exhibition catalogs and announcements, film and video programs, flyers, periodicals, poetry publications, posters, and materials relating to the artist Al Robbins, which includes an obituary written by Ryan. Also found are publications of the Raindance Corporation, which include the book, Guerrilla Television (1971), and four issues of their magazine, Radical Software (1971-1972). Most of the printed material was either written by Paul Ryan, contains articles by Paul Ryan, or documents activities of Paul Ryan. Other materials found contain works by Ryan's associates and collaborators.
Artwork contains artists' books, doodles, illustrations, prints, and photographs by named and unnamed artists. None of the artwork in this series appears to be by Ryan. Notable is an artist's book entitled "Patterns" by Lida Zerella, which incorporates still images from Ryan's Triadic Tapes in a small album. Two illustrations are found by Claude Ponsot, who also illustrated many of Ryan's publications relating to Kleinform and threeing.
Arrangement:
This collection is arranged as 8 series.
Series 1: Biographical Material, 1931-2003 (0.8 linear feet; Boxes 1, 20)
Series 2: Correspondence, 1965-2007 (2 linear feet; Boxes 1-3)
Series 3: Writings, 1955-2001 (6.8 linear feet; Boxes 3-10, 20)
Series 4: Organizational Records, 1968-1996 (1.2 linear feet; Boxes 10-11, 20, OV 21)
Series 5: Project Files, 1968-2008 (6.5 linear feet; Boxes 11-17, 20, OV 21-22, 24, RD 26)
Series 6: Teaching Files, 1967-2008 (0.7 linear feet; Box 17)
Series 7: Printed Materials, 1968-2009 (1.6 linear feet; Boxes 18-20, OV 23, 25)
Series 8: Artwork, 1965-2003 (0.1 linear feet; Boxes 19-20, OV 22)
Biographical / Historical:
Paul Ryan was a pioneering video artist, writer, teacher, and theoretician based in New York City and the Hudson Valley of New York State. Born in 1943, Ryan spent his early adulthood as a seminarian and later a member of the Roman Catholic order of Passionist monks, which he left in 1965. He eventually received a B.A. from New York University. During the Vietnam War, Ryan received conscientious objector status and studied with Marshall McLuhan at Fordham University as alternative service. It was McLuhan's influence that led Ryan to begin to explore the possibilities of the medium of video.
In 1969, Ryan participated in the landmark exhibition "TV as a Creative Medium" curated by Howard Wise, which served to link the kinetic art movement of the 1960s with the emergent medium of video art. The first exhibition in the United States devoted to video, "TV as a Creative Medium" signaled radical changes and defined an emerging artistic movement. In 1969 Ryan co-founded the Raindance Corporation along with Ira Schneider, Michael Shamberg, David Cort, Beryl Korot, Phyllis Gershuny, and others. Raindance was an influential media collective that proposed radical theories and philosophies of video as an alternative form of cultural communication. Influenced by the communications theories of Marshall McLuhan and Buckminster Fuller, the collective produced tapes and writings that explored the relation of cybernetics, media, and ecology. From 1970-1974, Raindance published the seminal video journal Radical Software, which provided a network of communications for the fledgling alternative video movement. In 1971, Shamberg published Guerrilla Television, a summary of the group's principles and a blueprint for a decentralization of television through access to public and cable programming. The original Raindance collective dispersed in the mid-1970s; the nonprofit Raindance Foundation continued into the 1990s. Ryan's core writings from the Raindance era were gathered into his 1973 publication Birth and Death and Cybernation, republished in 1974 as Cybernetics of the Sacred.
Ryan's work to develop alternative uses of video technology continued long after his involvement with Raindance. He began to implement his theories about the use of video monitoring and feedback within dynamic systems with the work that came to be known as the Earthscore Notational System. With Steve Kolpan and Bob Schuler, he founded the Earthscore Foundation, through which he raised money for the exploration and development of this applied practice. Earthscore, based largely on the writings of philosopher Charles Sanders Pierce and Gregory Bateson's work on cybernetics, provided the theoretical and logical underpinnings of both the ecosystem documentation and interpretation process, and the triadic rituals of interpersonal behavior, that became the core of Ryan's work for much of his life. These ideas were implemented in a wide variety of projects such as eco-channel design, video scores specific to certain locations, threeing projects exploring interpersonal behavior with video and computer technology, and a curriculum for combining media production training with environmental education.
Ryan later worked with organizations such as Talking Wood, The Earth Environmental Group, and Environment '89, (re-named in later years Environment '90, '91, and '92) to implement Earthscore systems and prototypes. He co-founded The Gaia Institute, hosted at Cathedral of St. John the Divine, and co-directed it from 1985-1991. The Institute fostered dialogs between science, religion, and art through workshops, lectures, exhibitions and events. He was an artist-in-residence for Earth Environmental Group in 1988 via a grant from the New York State Council on the Arts, and used the residency to carry out his video project "Nature in New York City," documenting city ecosystems and demonstrating how an eco-channel might work. Environment '89 organized a coordinated campaign for a cable channel devoted to the environment, the New York City Eco-channel for a Sustainable Tomorrow (NEST).
Ryan spent his later years as a professor of media production and theory at Savannah College of Art and Design, and then at the New School for Social Research. His work has been exhibited widely in the United States, including "The Primitivism Show" in The Museum of Modern Art (1984), "The American Century Show" at the Whitney Museum of American Art (1999-2000), and the Venice Biennale (2002). He died in 2013.
Provenance:
The papers of Paul Ryan were donated to the Archives of American Art by Ryan in 2008.
Restrictions:
Use of original papers and archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Video artists -- New York (State) -- New York Search this
Paul Ryan papers, 1931-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program.
The Dwinell Grant papers measure 0.8 linear feet and date from 1930 to 1988. The papers document Grant's career as a painter and filmmaker through awards and certificates, interviews, resumes, and other biographical material; correspondence with friends, colleagues, and art institutions; manuscripts and other writings; business records with Olympia Gallery and Martin Diamond Fine Arts and Graham Gallery; and brochures, exhibition announcements, exhibition catalogs, and other printed material.
Scope and Contents:
The Dwinell Grant papers measure 0.8 linear feet and date from 1930 to 1988. The papers document Grant's career as a painter and filmmaker through awards and certificates, interviews, resumes, and other biographical material; correspondence with friends, colleagues, and art institutions; manuscripts and other writings; business records with Olympia Gallery and Martin Diamond Fine Arts and Graham Gallery; and brochures, exhibition announcements, exhibition catalogs, and other printed material.
Biographical material includes awards and certificates, resumes, a timeline of Grant's life, some autobiographical notes by Grant and two videotapes PROFILE OF DWINELL GRANT from "Profiles in Excellence" conducted by Gary Perdue, and an interview with Grant for ART BEAT. Correspondence is composed of letters to and from Grant with friends, colleagues, and art institutions. Writings include essays Grant wrote for academic courses and typescript writings expressing Grant's thoughts on art and religion. Business records include Grant's dealings with Martin Diamond Fine Arts and Graham Gallery and the Olympia Gallery during the late 1970s and 1980s. Materials include such things as invoices, appraisals, and storage of artwork. Printed material includes press releases, clippings, programs for plays produced at Wittenberg College, exhibition announcements and catalogs, and brochures and fliers concerning Grant's medical and other filmmaking projects.
Arrangement:
The collection is arranged into five series.
Series 1: Biographical Material, 1940-1988 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1930-1988 (0.2 linear feet; Box 1)
Series 3: Writings, circa 1948 (0.2 linear feet; Box 1-2)
Series 4: Personal Business Records, 1978-1988 (0.1 linear feet; Box 2)
Series 5: Printed Material, 1936-1988 (0.2 linear feet; Box 2)
Biographical / Historical:
Dwinell Grant (1912-1991) was a painter and filmmaker in Pennsylvania. Grant was born and raised in Ohio. He received early art training from his grandfather, Paul E. Henking, and also studied at the Dayton Art Institute and the National Academy of Design. In 1935, he began teaching at Wittenberg College in Ohio. He was primarily influenced by his association with Hilla Rebay and the Museum of Non-Objective Art (the Guggenheim), and from 1944-1948 worked on an unfinished film project for the Guggenheim. In 1947, he began producing medical teaching films and supplemented his income with work on medical books, while continuing to work on his paintings.
Separated Materials:
Also found at the Archives of American Art are materials lent for microfilming (reels 4154-4155) including writings, mostly from the 1980s, expressing Grant's thoughts and philosophies concerning
himself and his art work, sometimes presented in the format of a journal; one album containing photographs of Grant, his family and friends, and nine albums of photographs of works and of gallery installations, annotated with information on sales, experiments with light, including a formula for stereoscopic drawing, notes on abstractfilms, medical illustrations, and dream fantasies; and two sketchbooks containing abstract drawings. Lent materials were returned to Grant and are not described in the collection container inventory.
Provenance:
The papers were donated to the archives by Dwinell Grant in 1988. Additional material was lent for microfilming by Dwinell Grant in 1988.
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.
Dwinell Grant papers, 1930-1988. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1974 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 9 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: African Diaspora
Series 3: Children's Program
Series 4: Family Folklore
Series 5: Festival Stage
Series 6: Native Americans
Series 7: Old Ways in the New World
Series 8: Regional America
Series 9: Working Americans
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1974 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
With the 1974 Festival of American Folklife (July 3-7 and July 10-14, 1974), the seven programs that would constitute the Bicentennial Festival were all in place. As in 1973, the Festival took place in the western part of the National Mall alongside the Reflecting Pool, between 17th and 23rd Streets, and between Constitution Avenue N.W. and Independence Avenue S.W. (see site plan). It was co-organized by the Smithsonian Institution, Division of Performing Arts (James R. Morris, Director; Richard Lusher) and the National Park Service (Ronald H. Walker, Director). Ralph Rinzler was Director of the Folklife Program and the Festival.
The 1974 Festival included seven programs, with a Festival Stage bringing together performers from other programs and, in the second week, its own participants. The 1974 Program Book was supplemented by daily folios with additional information on that day's programs.
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.
Forms Part Of:
Smithsonian Folklife Festival records: 1974 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
Nixon, Richard M. (Richard Milhous), 1913-1994 Search this
Extent:
75.03 Cubic feet (168 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Publications
Correspondence
Programs
Place:
Tuskegee Army Air Field (Ala.)
Date:
1928-1990
Summary:
This collection consists of 72 linear feet of the papers of Benjamin O. Davis. Included are the following types of material: programs, invitations, certificates, correspondence, published material, and photographs.
Scope and Contents:
This collection consists of material gathered by General and Mrs. Davis over the course of their lives to 1993. The bulk of this collection consists of correspondence, newsclippings, and photographs relating to or received by the Davises, especially after General Davis retired from the Air Force. The collection is particularly rich in materials from the black press of the 1940s, documenting the response of the black community to the activities of the 99th Fighter Squadron and 332d Fighter Group during and after World War II, and contains a small amount of material related to the controversy surrounding the units' combat performance and the morale issues raised by the segregated society of the 1940s. Most of the remainder of the material from Davis' military career centers on his own activities. Davis' tenure as the Director of Public Safety in Cleveland coincides with the activities of the Black Panther movement and the term of Mayor Carl Stokes, Cleveland's first mayor of African descent; the newclippings and correspondence from this period highlight police activities and public reaction in this racially-polarized atmosphere. Much of the material from Davis' early tenure at the Department of Transportation deals with civil aviation security, initially to counter the hijacking wave of the early 1970s and later to reduce cargo theft. The material from his later years, particularly during his years as a consultant, deals primarily with attempts to reduce gasoline consumption, especially his work promoting the 55mph National Maximum Speed Limit. The largest blocks of material from Davis' private life relate to his tenure on the President's Commission on Campus Unrest (1970) and the President's Commission on Military Compensation (1977-1978); these contain, respectively, materials on student protests, including the shootings at Kent State, and on issues surrounding military pay and retirement. There is also a significant body of material relating to his association with Tuskegee Airmen, Inc. and his speaking tours to increase public knowledge of the role of black servicemen during World War II.
Materials of a personal nature, particularly correspondence between General and Mrs. Davis, were retained by the Davises and therefore do not figure in this collection. Most official documents relating to Davis' activities in the military or civil service are held by the United States National Archives and Records Administration in Record Groups 18 (Records of the Army Air Forces), 341 (Records of Headquarters United States Air Force (Air Staff)), 342 (Records of United States Air Force Commands, Activities, and Organizations), and 398 (General Records of the Department of Transportation). Official materials remaining in the collection are primarily contemporary copies given to Mrs. Davis relating to General Davis' travel or public appearances.
Some of the early material (through approximately 1948) was organized by Mrs. Davis into a series of scrapbooks, each of which contains photographs, correspondence, and newsclippings. The rest of the items in the collection were organized into envelopes by the Davises before donation, with the material generally arranged by posting (duty station) and chronology. The items in any given envelope were generally not organized and neither were the envelopes themselves grouped in any particular manner. Additionally, some military records gathered by General Davis as reference material while writing his autobiography were identified by the period of his posting, although the material itself was generally created after that period. Items relating primarily to Mrs. Davis were not separated by the Davises in any manner; during processing such material was treated in a like manner, remaining interfiled with material relating primarily to General Davis, except as noted below.
The collection as a whole has been organized into four chronological groups: Civilian and Family Life (predating Davis' admission to the US Military Academy at West Point, NY), Military Service, Private Life (post-dating Davis' retirement from the USAF), and Autobiography. The second of these (Military Service) has been organized chronologically by posting, then alphabetically by subject; the remaining groups have been organized alphabetically by broad subject areas, then chronologically.
A number of broad subject areas recur in both the civilian and military sections of this collection. In cases where such broad areas can be applied individually to Davis, Mrs. Davis, or Davis Sr., they have been grouped in that order. The subject areas are as follows:
Awards and Honors -- materials relating to medals, citations, or other awards or honors given to Davis (or other members of his family)
Newclippings -- clippings from newspapers or magazines, or complete newspapers or magazines, except when such clippings were enclosures which had remained with their associated cover letter
Official Duties -- materials relating to Davis' activities connected to his official duties (used in Series II only)
Social -- materials relating to the Davises' activities which are not obviously connected to his official duties
Travel -- materials relating to trips by the Davises which do not appear to be duty-related trips
Other subject areas are generally self-explanatory.
The collection contained two videotapes, one relating to the 50th Anniversary of the Tuskegee Airmen and the other to the 1992 Clinton Campaign, both of which have been transferred to the NASM Film Archives. Cross references to these tapes have been placed in the finding aid in the series or subseries into which they would have fallen had they been documents. A large number of three-dimensional items, particularly plaques, have been transferred to curatorial control. For access to these items, please contact the NASM Aeronautics Department. Oversized items remaining in the collection have been placed in appropriate-sized containers at the end of the document collection; reference to such items occurs in the file lists as "see oversized..." or "see also oversized..." as appropriate.
Researchers should also consult Davis' autobiography, Benjamin O. Davis, Jr., American: An Autobiography (Washington, DC: Smithsonian, 1991).
Arrangement:
Series 1: Education and Civilian Life, to June 1932
Series 2: Military Career, June 1932 to January 1970
Series 3: Civilian Life, February 1970 to 1993
Series 4: Autobiography
Biographical / Historical:
Benjamin Oliver Davis, Jr. was born in Washington, DC on December 18, 1912, the second of three children born to Benjamin Oliver (Sr.) and Elnora Dickerson Davis. At that time Davis Sr.(1) was a First Lieutenant in the United States Army, having worked his way up from an enlisted cavalry trooper. Elnora Davis died from complications after giving birth to their third child (Elnora) in 1916 and three years later Davis Sr. married Sadie Overton, an English professor at Wilberforce University. Davis and his sisters lived with relatives in Washington while Davis Sr. completed his tour of duty in the Philippines with his new bride. The family was reunited in Tuskegee, AL when Davis Sr. taught military science and tactics at the Tuskegee Institute between 1920 and 1924. In 1924 Davis Sr. was assigned as an instructor to a federalized Ohio National Guard unit and the family moved to Cleveland, OH.
Davis finished his schooling in Cleveland, graduating from Central High School in 1929. He then attended Western Reserve University (1929-1930) and the University of Chicago (1930-1932) before gaining admission to the United States Military Academy at West Point, NY. He graduated in the Class of 1936 and was commissioned a Second Lieutenant in the Infantry.(2) Upon graduation, he married Ms. Agatha Scott, whom he had met and dated while at the Academy.
After serving in the infantry for several years Davis was posted to the newly-established Tuskegee Army Air Field, AL for pilot training in 1942. He graduated in the first class from the new flying school and was officially transferred to the Army Air Corps. In August 1942 he assumed command of the 99th Fighter Squadron, leading it in combat in North Africa and Sicily. The 99th Fighter Squadron was the first unit of "Tuskegee Airmen," as black(3) units in the segregated Army Air Forces (AAF) have come to be called. Two units of Tuskegee Airmen saw combat during World War II: the 99th Fighter Squadron and the 332d Fighter Group (composed of the 100th, 301st, and 302d Fighter Squadrons). Davis, promoted to Colonel in 1944, commanded both of these units in turn, leading the 99th and 332d in combat in Europe and earning the Air Medal, Distinguished Flying Cross, Legion of Merit, and Silver Star for his own actions and a Distinguished Unit Citation for the 332d Fighter Group.
Davis returned to the United States in June 1945 to assume command of the 477th Bombardment Group (composed of the 616th, 617th, 618th, and 619th Bombardment Squadrons; later redesignated the 477th Composite Group), another segregated black unit, at Godman Field, KY. Davis was expected to prepare the unit for deployment to the Pacific Theater, although the unit's training was badly behind schedule due to racial tensions between the white staff and black operating personnel of the unit. Davis quickly brought the unit up to deployment requirements, but the war ended before the 477th left the United States. Returning elements of the 332d and 99th were merged into the 477th, which was redesignated the 332d Fighter Wing in 1947. As the only remaining black unit in the newly-established, but still segregated, United States Air Force (USAF), the 332d suffered from a surplus of qualified personnel while remaining USAF units were often under manned. The performance of the units under Davis' command had laid to rest questions regarding the abilities of the "negro race" and in 1948 the Air Force determined that the efficient use of its manpower required the integration of its units. As a result the Air Force rapidly complied with President Truman's order for the integration of the United States military. Davis acted as an advisor to the Assistant Secretary of the Air Force in relation to the integration of the armed forces. The integration procedure, however, resulted in the deactivation of Davis' command as its personnel were dispersed among the rest of the Air Force; Davis himself was assigned to attend classes at the Air War College at Maxwell AFB, AL.
After completing the course of study at the Air War College (1949-1950), Davis was posted to a variety of command and staff positions both within the United States and abroad. He served in a number of staff positions in Headquarters, USAF, at the Pentagon.(4) He held both command and staff positions abroad in Korea (5), Japan (6), Taiwan (7), Germany (8), and the Philippines.(9) His final assignment was as Deputy Commander in Chief of United States Strike Command at MacDill AFB, FL.
Davis was promoted to Brigadier General in October 1954 (10), after ten years as a Colonel. He was promoted to Major General in June 1959 and to Lieutenant General in April 1965. Despite persistent rumors of his impending promotion to full General (four stars), no such promotion was pending by the time of his retirement on January 31, 1970.
Throughout his military career Davis took great pains to insure good living conditions and fair treatment for the men under his command. He strove to create good relations between the US military forces and local military and civil authorities. In particular, he negotiated several Status of Forces Agreements and defused several antagonistic situations between US forces and local authorities while commanding units in Asia. In addition, he and Agatha established many personal relationships, which they maintained after their return to the United States.
After his retirement from the military, he served briefly as the Director of Public Safety for the City of Cleveland, OH (February-July 1970), leading the Cleveland Police and Fire Departments in the racially-polarized atmosphere in that city after the riots of the late 1960s. Following his resignation from Cleveland, he took a position as the Director of Civil Aviation Security for the United States Department of Transportation (November 1970-June 1971), where he was responsible for implementing measures to counter the first wave of aerial hijackings of the 1970s. In July 1971 he was appointed Assistant Secretary of Transportation for Safety and Consumer Affairs (July 1971-September 1975), serving both the Nixon and Ford Administrations in that position.
Following his retirement from the civil service, he worked as a consultant to the Department of Transportation in the Ford and Carter Administrations on a number of issues, but was particularly linked to the promotion of the 55mph National Maximum Speed Limit. He served on a number of boards and commissions, including the President's Commission on Campus Unrest, the American Battle Monuments Commission, The President's Commission on Military Compensation, and the Board of Directors of the Manhattan Life Insurance Co. He was also active in a number of clubs and organizations, particularly the Tuskegee Airmen Inc., which awarded him a lifetime membership in 1991.
In the late 1980s he began work on his autobiography, Benjamin O. Davis, Jr., American: An Autobiography (Washington, DC: Smithsonian, 1991). Following its publication, Davis pursued an active speaking career, crossing the country to talk to schools, clubs, and general audiences about his experiences. His book and
es, his contributions to the Black Wings exhibit at the National Air and Space Museum (opened 1983), and the work of Tuskegee Airmen, Inc. did much to lift the veil that had fallen over the activities of black Americans during World War II, both in the air and on the ground. For his contributions, both during and after World War II, he received many awards, including the Order of the Sword (presented by the Non-Commissioned Officers of USAF Tactical Air Command, awarded 1978), designation as an Elder Statesman of Aviation (National Aeronautic Association, awarded 1991), and the Langley Medal (Smithsonian Institution, awarded 1992), as well as numerous lifetime and distinguished achievement awards.
On December 9, 1998, Davis was promoted to General on the Retired List, receiving his fourth star from President William Clinton in a ceremony held in the Presidential Hall of the Old Executive Office Building in Washington, DC. The promotion came only after the Tuskegee Airmen approached Senator John McCain of Airzona, who agreed that the promotion was warranted by Davis' service. McCain added the necessary language to a defense-related bill, which was passed by Congress in September 1998.
Agatha died early in 2002 and General Davis, suffering from Alzheimer's Disease, followed shortly after, passing away on July 4, 2002 at Walter Reed Army Medical Center in Washington, DC.
Endnotes
1. For the sake of brevity, "Davis" refers to Benjamin O. Davis, Jr. "Davis Sr." refers to his father, Benjamin O. Davis, Sr.
2. Davis had requested a commission in the Army Air Corps, but was refused due to his race. Davis was the fourth black American to graduate from West Point and the first in the twentieth century. In keeping with his sentiments, his ethnicity will only be mentioned when it has a direct bearing upon his career. See Benjamin O. Davis, Jr., Benjamin O. Davis, Jr., American: An Autobiography (Washington: Smithsonian Institution Press, 1991).
3. At the request of General and Mrs. Davis the term "black" or "black American" is used in preference to "African-American". Patricia Williams, Memorandum for the Record, August 21, 1992, NASM Accession File 1992 0023.
4. Staff Planning Officer, Operations and Planning Division/Commands Division, Deputy Chief of Staff for Operations (DCS/O; July 1950-January 1951); Chief, Air Defense Branch/Fighter Branch, DCS/O (January 1951-July 1953); Director of Manpower and Organizations, DCS/Programs and Requirements (August 1961-February 1965); Assistant Deputy Chief of Staff for Programs and Requirements (February-May 1965).
5. Commander, 51st Fighter Interceptor Wing (November 1953-July 1954); Chief of Staff, United Nations Command/US Forces Korea (May 1965-August 1967)
6. Director of Operations and Training, Headquarters, Far East Air Force, Tokyo (July 1954-April 1957)
7. Commanding Officer, Air Task Force 13 (Provisional) and Vice Commander, Thirteenth Air Force (June 1955-April 1957)
8. Chief of Staff, Twelfth Air Force (May-December 1957); Deputy Chief of Staff for Operations, USAF Europe (December 1957-July 1961)
9. Commander, Thirteenth Air Force (August 1967-July 1968)
10. Davis was the first black American to achieve flag rank in the United States Air Force. He was the second in the armed forces, the first being his father, who was promoted to Brigadier General in the United States Army in 1940.
1912 December 18 -- Davis born in Washington, DC to First Lieutenant Benjamin O. Davis (Sr.) and Elnora Dickerson Davis
1914 September 1 -- World War I begins
1915 February -- Davis Sr. begins duties as instructor at Wilberforce University, OH
1916 February 9 -- Elnora Dickerson Davis dies
1917 April 6 -- United States declares war on Germany; direct U.S. involvement in World War I begins
1917 (Summer) -- Davis Sr. assigned to 9th Cavalry Regiment, Camp Stotsenburg, Philippine Islands
1918 November 11 -- World War I armistice signed; end of combat operations in Europe
1919 -- Davis Sr. marries Sadie Overton
1920 July -- Family moves to Tuskegee, AL (Davis Sr. instructs at Tuskegee Institute)
1924 July -- Family moves to Cleveland, OH (Davis Sr. instructs 372d Infantry Regiment, OH National Guard)
1929 -- Davis graduates from Central High School, Cleveland, OH
1929 --1930 -- Davis attends Western Reserve University, Cleveland, OH
1930 --1932 -- Davis attends University of Chicago, Chicago, IL
1931 March -- Davis appointed to United States Military Academy, West Point, NY (fails entrance exam)
1932 March -- Davis passes USMA entrance exam
1932 July 1 -- Davis reports to USMA, West Point, NY (attends July 1, 1932-June 12, 1936)
1936 June 12 -- Davis graduates from USMA, commissioned Second Lieutenant of Infantry
1936 June 20 -- Davis marries Agatha Josephine Scott
1936 September 12 -- Davis reports to Company F, 24th Infantry Regiment at Fort Benning, GA (Company Officer, September 12, 1936-August 27, 1937)
1937 July 7 -- Japanese forces invades China; World War II begins in Asia
1937 August 27 -- Davis reports to the Infantry School at Fort Benning, GA (attends normal course, August 27, 1937-June 18, 1938)
1938 June 18 -- Davis reports to Tuskegee Institute, Tuskegee, AL as Professor of Military Science (instructs June 18, 1938-February 14, 1941)
1939 June 12 -- Davis promoted to First Lieutenant
1939 September 1 -- German forces invade Poland; World War II begins in Europe
1940 October 9 -- Davis promoted to Captain (temporary promotion)
1940 October 25 -- Davis Sr. promoted to Brigadier General and placed in command of the 4th Cavalry Brigade at Fort Riley, KS
1941 February -- Davis assigned as Aide de Camp to Davis Sr. (serves February-May 1941)
1941 May 20 -- Davis reports to Flying School at Tuskegee Army Air Field, AL (student, May 20, 1941-March 7, 1942)
1941 December 7 -- Japanese aircraft attack Pearl Harbor, HI; direct U.S. involvement in World War II begins
1942 March 7 -- Davis is appointed Administrative Officer, Tuskegee AAF, AL (serves March 7-August 27, 1942)
1942 May -- Davis transferred from Infantry to Army Air Corps
1942 May 11 -- Davis promoted to Major (temporary promotion)
1942 May 21 -- Davis promoted to Lieutenant Colonel (temporary promotion)
1942 August 27 -- Davis assumes command of 99th Fighter Squadron, Tuskegee AAF, AL (Squadron Commander, August 27, 1942-October 4, 1943)
1943 April 24 -- 99th Fighter Squadron transferred to Casablanca, French Morocco
1943 April 29 -- 99th Fighter Squadron transferred to Oued N'ja, French Morocco
1943 June 7 -- 99th Fighter Squadron transferred to Fardjouna, Tunisia
1943 July 28 -- 99th Fighter Squadron transferred to Licata, Sicily
1943 September 4 -- 99th Fighter Squadron transferred to Termini, Sicily
1943 September 17 -- 99th Fighter Squadron transferred to Barcellona, Sicily
1943 September -- Davis returns to Continental United States
1943 October 8 -- Davis assumes command of 332d Fighter Group, Selfridge Field, MI (Group Commander, October 8, 1943-June 7, 1945)
1944 February 3 -- 332d Fighter Group transferred to Montecorvino, Italy
1944 April 15 -- 332d Fighter Group transferred to Capodichino, Italy
1944 May 28 -- 332d Fighter Group transferred to Ramitelli Airfield, Italy
1944 May 29 -- Davis promoted to Colonel (temporary promotion)
1945 May 4 -- 332d Fighter Group transferred to Cattolica, Italy
1945 May 7 -- Germany surrenders; World War II ends in Europe
1945 June 10 -- Davis returns to Continental United States
1945 June 21 -- Davis assumes command of 477th Composite Group (Group Commander, June 21-30, 1945)
1945 July 1 -- Davis assumes command of Godman Field, KY, and all tenant units, including 477th Composite Group (Base Commander, July 1, 1945-March 4, 1946)
1945 September 2 -- Japan surrenders; World War II ends in the Pacific
1946 March 4 -- Davis assumes command of Lockbourne AAB and all tenant units, including 477th Composite Group (Base Commander, March 4, 1946-September 15, 1947) All units at Godman Field transferred to Lockbourne Army Air Base, OH
1947 July 1 -- 477th Composite Group redesignated 332d Fighter Wing
1947 July-August -- Davis travels to Liberia with Davis Sr. as a special representative of the United States Government for the establishment of Liberian independence
1947 September 16 -- Davis assumes direct command of 332d Fighter Wing (Wing Commander, September 16, 1947-June 30, 1949)
1947 October 1 -- United States Air Force created as an independent service.
1948 July 2 -- Davis' promotion to Lieutenant Colonel made permanent.
1948 July 26 -- President Truman signs Executive Order 9981 ordering the full integration of the United States armed forces.
1949 May 11 -- USAF issues Air Force Letter 35-3 stating that Air Force policy is equal treatment and opportunity for all persons in the Air Force regardless of race, color, religion, or national origin.
1949 June 30 -- 332d Fighter Wing deactivated
1949 July 1 -- Davis assumes command of Lockbourne AFB, OH (Base Commander, July 1-August 16, 1949)
1949 August 16 -- Lockbourne AFB, OH transferred to Ohio Air National Guard
1949 August 17 -- Davis reports to Air War College, Maxwell AFB, AL (attends course, August 17, 1949-July 4, 1950)
1950 June 25 -- North Korean forces invade South Korea; Korean War begins
1950 July 19 -- Davis reports to Pentagon to serve as Staff Planning Officer, Operations and Planning Division, Deputy Chief of Staff for Operations (DCS/O), Headquarters, United States Air Force, Washington, DC (serves July 19, 1950-January 4, 1951)
1950 July 27 -- Davis' promotion to Colonel made permanent
1950 August 8 -- Davis awarded Croix de Guerre by the French government for his actions during World War II
1950 September 12 -- Operations and Planning Division redesignated Commands Division of DCS/O
1951 January 5 -- Davis begins duty as Branch Chief, Air Defense Branch, Commands Division, DCS/O. (serves January 5, 1951-July 15, 1953)
1951 April 16 -- Air Defense Branch redesignated Fighter Branch, Control Division, DCS/O
1953 February 5 -- Davis reports to Craig AFB, AL for Jet Indoctrination Course (February 5-March 2, 1953); returns to Fighter Branch on completion of course
1953 July 16 -- Davis reports to Nellis AFB, NV for Advanced Jet Fighter Gunnery School (July 16-November 16, 1953)
1953 July 27 -- Korean War armistice signed; end of combat operations in Korea
1953 November 25 -- Davis assumes command of 51st Fighter Interceptor Wing at Suwon, Korea (Wing Commander, November 25, 1953-July 6, 1954)
1954 July 7 -- Davis reports to Headquarters, Far East Air Force, Tokyo, Japan to serve a Director of Operations and Training (serves July 7, 1954-April 1957)
1954 October 27 -- Davis is promoted to Brigadier General (temporary promotion)
1955 June -- Davis reports to Taipei, Taiwan to establish Air Task Force 13 (Provisional) (Commander, June 1955-April 1957), with simultaneous duties as Vice Commander, Thirteenth Air Force and Director of Operations and Training, FEAF
1957 March -- Davis awarded Command Pilot Rating
1957 May -- Davis assigned to Twelfth Air Force
1957 June -- Davises travel from Taiwan to Europe via United States
1957 July -- Davis reports to Headquarters, Twelfth Air Force at Ramstein, Germany (Chief of Staff, May-December 1957)
1957 December -- Davis begins duties as Deputy Chief of Staff for Operations (ADVON) at Headquarters, USAF Europe, Wiesbaden, Germany (serves December 1957-July 1961)
1959 June 30 -- Davis is promoted to Major General (temporary rank)
1960 May 16 -- Davis' promotion to Brigadier General made permanent
1961 -- US military personnel sent to South Vietnam as advisors
1961 August -- Davis reports to Pentagon to serve as Director of Manpower and Organizations, Deputy Chief of Staff for Programs and Requirements, Headquarters, USAF (serves August 1961-February 1965)
1962 January 30 -- Davis' promotion to Major General is made permanent
1965 February -- Davis begins duty as Assistant Deputy Chief of Staff for Programs and Requirements, Headquarters, USAF (serves February-May 1965)
1965 April 30 -- Davis promoted to Lieutenant General
1965 March 2 -- USAF begins "Rolling Thunder" bombing campaign over North Vietnam
1965 May 13 -- Davis reports to Seoul, Korea to begin duties as Chief of Staff to the United Nations Command and United States Forces Korea (serves May 13, 1965-August 1, 1967)
1966 October 25 -- Sadie Overton Davis dies
1967 August -- Davis assumes command of Thirteenth Air Force, Clark Air Base, Philippines (Commanding Officer, August 1967-July 1968)
1968 August 1 -- Davis reports to MacDill AFB, FL to begin duties as Deputy Commander in Chief of United States Strike Command (serves August 1, 1968-January 31, 1970)
1968 January -- Tet Offensive begins in Vietnam
1968 October 31 -- "Rolling Thunder" ends on orders from President Johnson
1969 January 20 -- Richard M. Nixon inaugurated President of the United States
1970 -- USAF begins withdrawing units from South Vietnam
1970 January 31 -- Davis retires from United States Air Force
1970 February 1 -- Davis begins work as Director of Public Safety for the Cleveland, OH (works February 1, 1970-July 27, 1970)
1970 June 13 -- Davis joins President's Commission on Campus Unrest (report issued September 27, 1971)
1970 July 27 -- Davis resigns from Cleveland position, citing lack of support from Mayor Stokes
1970 September 20 -- Davis begins work as a consultant to the United States Secretary of Transportation on air transportation security (works September 20, 1970-November 4, 1970)
1970 November 4 -- Davis begins work a Director of Civil Aviation Security for the United States Department of Transportation (works November 4, 1970-July 1, 1971)
1970 November 26 -- Benjamin O. Davis, Sr. dies
1971 July 1 -- Davis becomes Acting Assistant Secretary of Transportation for Safety and Consumer Affairs (serves July 1, 1971-August 3, 1971)
1971 July 8 -- Nixon Administration nominates Davis to be Assistant Secretary of Transportation for Safety and Consumer Affairs
1971 July 29 -- Senate confirms Davis in Assistant Secretary position
1971 August 3 -- Davis sworn in a Assistant Secretary of Transportation for Safety and Consumer Affairs (serves August 3, 1970-September 20, 1975)
1973 March 28 -- Last US Military personnel leave South Vietnam
1974 August 9 -- Nixon resigns as President of the United States. Vice President Gerald R. Ford becomes President
1975 September 20 -- Davis retires from Civil Service
1976 April -- Davis begins work as Special Assistant to the Secretary of Transportation for the National Maximum Speed Limit
1977 January 20 -- James E. Carter inaugurated President of the United States
1977 June -- Davis joins President's Commission on Military Compensation (report issued March 1978)
1981 January 20 -- Ronald W. Reagan inaugurated President of the United States Davis leaves position as Special Assistant to the Secretary of Transportation
1989 January 20 -- George H. W. Bush inaugurated President of the United States
1991 -- Davis' autobiography – Benjamin O. Davis, Jr., American: An Autobiography – is published by Smithsonian Press
1991 June 30 -- Davis awarded a Lifetime Membership by Tuskegee Airmen Inc
1993 January 20 -- William J. Clinton inaugurated President of the United States
1998 December 9 -- Davis promoted to General (Retired) in a ceremony at the Old Executive Office Building
2001 January 20 -- George W. Bush inaugurated President of the United States
2002 July 4 -- Davis dies at Walter Reed Army Medical Center, Washington, DC
2002 July 17 -- Davis buried at Arlington National Cemetery, Arlington, VA
Provenance:
Benjamin O. Davis and Agatha S. Davis, Gift, various, 1992-0023
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Mel Casas papers, 1963-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing and digitization of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Additional funding for the digitization of the papers was provided by the Roy Lichtenstein Foundation.
Videotapes of Pentecostal ceremonies, such as snake handling, laying on of hands, baptisms, foot washing, casting out of devils, dancing in ecstasy; a video interview with Brother Harrison Mayes at his home in Middleburg, Kentucky; and an audiotape of revival meetings.
Arrangement:
Collection is arranged in one series:
Series 1, Audiovisual
Biographical / Historical:
Eleanor Creekmore Dickinson, artist, produced several exhibits as well as a book on Pentecostal worship in the South entitled Revival! She documented Pentecostal and Baptist ceremonies using videotape, audiotape, line drawings and velvet painting.
Dickinson was born February 7, 1931, in Knoxville, Tennessee. She was educated at the University of Tennessee (B.A., Fine Art, 1952); the San Francisco Art Institute (painting and printmaking, 1961-1963); the Académie Grande Chaumière, Paris (drawing, 1971); the University of California at Berkeley (history, 1967 and 1981), and the California College of Arts and Crafts (Master of Fine Arts in Video, 1982). She began teaching at the California College of Arts and Crafts as Professor of Art in 1971.
She has had numerous solo and group exhibitions, has received grants in connection with her work, and is represented in more than a dozen public collections, including the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Library of Congress, and the Oakland Museum.
A resume and selected bibliography, compiled in 1986, are in the Archives Center's collection control files.
Related Materials:
Related artifacts in Division of Community Life (now Division of Cultural and Community Life) (see accessions 306082, 306787, 1981.0570, and 1978.0344); related materials in the Smithsonian Archives of American Art and the Library of Congress.
Provenance:
Collection donated by Eleanor Dickinson in 1980 and transferred to the Archives Center from the National Museum of American History Division of Community Life in 1986.
Restrictions:
Collection is open for research. No reference copies exist. Orginals are not accessable.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 2002 Smithsonian Folklife Festival. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 2 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: The Silk Road: Connecting Cultures, Creating Trust
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 2002 Smithsonian Folklife Festival was produced by the Smithsonian Center for Folklife and Cultural Heritage and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
For ten days in the summer of 2002, the great geographical and cultural distance that lies between the heart of Europe and the far reaches of Asia was reduced to the length of a leisurely afternoon stroll on the National Mall. For the first time in its 36-year history, the Smithsonian Folklife Festival had a single - and remarkably ambitious - theme: the Silk Road. The name denotes the network of trade routes, over both land and sea, along which merchants and travelers began to move across Asia and Europe from the first millennium B.C.E. The most famous east-west component of the Silk Road began in Xi'an, the ancient capital of China, broke north and south of China's Takla Makan Desert, and traversed a vast stretch of Central and Western Asia on its way to the eastern end of the Mediterranean. Along those staggering distances lay a wealth of cultures and traditions. They are still there; during the Folklife Festival, they came to life in the heart of Washington as well.
Merchants took to the Silk Road for commercial gain. But their movement also brought riches of another kind: the cultural traditions that were transported along the Silk Road. The ingenious, distinctive emblems of peoples - their science, technology, religions, customs, crafts, music, food, architecture, fashions - made the journey, too, and the dazzling variety of the world that commerce opened was diffused, welcomed, and adapted.
That's the tale that was told in the 2002 Folklife Festival, The Silk Road: Connecting Cultures, Creating Trust. Produced in association with the Silk Road Project, Inc., an organization founded by the cellist Yo-Yo Ma, supported in large part by the Aga Khan Trust for Culture, and featuring exhibits designed by Rajeev Sethi, the Festival turned the National Mall into a mammoth visual representation of the Silk Road, with the Great Gate in Nara, Japan, at the eastern end, toward the Capitol, and St. Mark's Square in Venice at the western end, in the shadow of the Washington Monument. And between the two, visitors could wander Eurasia, through Istanbul, Samarkand, and Xi'an. On the way they moved among hundreds of musicians, artists, dancers, crafts workers, and chefs from some two dozen nations of the Silk Road, working side by side with Americans who trace their origins to the region or have been culturally influenced by its traditions.
An especially valuable aspect of the event was its focus on Central Asia, a region to which Americans were all too indifferent before events of the preceding year. We now know the names of the nations in that part of the world, but the Festival gave the people of those nations and their traditions a human face. Visitors who made the journey across the Festival site could immerse themselves in the energy and larger educational purpose of the Festival; they had an opportunity to travel across continents, centuries, and cultures. They could meet with a diversity of artists who, through their demonstrations of skill - with silk, jewelry, ceramics, carpets, paintings, paper, calligraphy, food, and, not least, music - did more than merely affirm their cultural traditions. They embodied them. The 2002 Folklife Festival, like every other, celebrated humanity and breathed a spirit of human engagement. On a great green stretch of this nation's capital, people from many different societies were brought together face to face. And those chance, transient encounters might affect the way they think about the world.
The 2002 Festival took place during two five-day weeks (June 26-30 and July 3-7) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).
The Program Book provided information on the history and culture of the Silk Road and included a schedule and participant information.
The Silk Road: Connecting Cultures, Creating Trust at the Smithsonian Folklife Festival was a partnership of the Smithsonian Institution Center for Folklife and Cultural Heritage and the Silk Road Project, Inc. The Festival site was designed by Rajeev Sethi Scenographers and produced in cooperation with the Asian Heritage Foundation. The Festival was co-sponsored by the National Park Service.
Center for Folklife and Cultural Heritage
Richard Kurin, Director; Richard Kennedy, Deputy Director; Smithsonian Folklife Festival: Diana Parker, Festival Director; Carla M. Borden, Program/Publications Manager; Arlene L. Reiniger, Program Specialist; Charlie Weber, Media Specialist; Smithsonian Folkways Recordings: Daniel Sheehy, Director; Anthony Seeger, Director Emeritus; D.A. Sonneborn, Assistant Director; Ralph Rinzler Archives: Jeffrey Place, Archivist; Stephanie Smith, Assistant Archivist; Save Our Sounds: Frank Proschan, Project Director; Smithsonian GlobalSound: Jon Kertzer, Project Director; Cultural Heritage Policy: James Early, Director; Cultural Research and Education: Olivia Cadaval, Chair; Thomas Vennum, Jr., Senior Ethnomusicologist Emeritus; Betty J. Belanus, Nancy Groce, Marjorie Hunt, Diana Baird N'Diaye, Peter Seitel, Cynthia Vidaurri, Nilda Villalta, Curators, Folklorists, Education and Cultural Specialists; John W. Franklin, Program Manager; Gigi Bradford, Roland Freeman, Ivan Karp, Corinne Kratz, Alan Lomax, Worth Long, René López, Kate Rinzler, Rajeev Sethi, Research Associates; Rhea Combs, Steven Garabedian, Mark Jackson, Ajaya Khanal, Anthony McCann, Fellows
Center Advisory Council
Kurt Dewhurst, Anthony Gittens, Pat Jasper, Barbara Kirshenblatt-Gimblett, Enrique Lamadrid, David Maybury-Lewis, Judy Mitoma, J. Scott Raecker, Ricardo Trimillos (Chair)
Folkways Advisory Board
Michael Asch (Chair), Phyllis Barney, Hal Cannon, Don DeVito, Ella Jenkins, Fred Silber
The Silk Road Project, Inc.
Yo-Yo Ma, Artistic Director; Jean Davidson, Managing Director; Theodore Levin, Project Director
The Asian Heritage Foundation
Rajeev Sethi, Founder Trustee
National Park Service
Fran P. Mainella, Director; Terry R. Carlstrom, Director, National Capital Region
The Festival was supported by federally appropriated funds, Smithsonian trust funds, contributions from governments, businesses, foundations, and individuals, in-kind assistance, volunteers, food and craft sales, and Friends of the Festival. The 2002 Festival was made possible through the following generous sponsors and donors to the Silk Road Project, Inc.:
Lead Funder and Key Creative Partner: The Aga Khan Trust for Culture
Global Corporate Partners: Ford Motor Company; Siemens
Major Funding by: The Starr Foundation; Mr. and Mrs. Henry R. Kravis; Mr. Richard Li; Mr. William Rondina; Wolfensohn Family Foundation; Octavian Society; National Endowment for the Arts; Carolyn G. Mugar/The Armenian Tree Project
and by the following supporters of the Smithsonian Institution:
Lead Donor: ExxonMobil
Donors: U.S. Department of State; Mr. Arthur Pacheco; Trust for Mutual Understanding; Music Performance Trust Funds; Asian Cultural Council; J.S. Lee
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.
Forms Part Of:
Smithsonian Folklife Festival records: 2002 Smithsonian Folklife Festival forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 2005 Smithsonian Folklife Festival. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 6 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: Food Culture USA
Series 3: Forest Service, Culture, and Community
Series 4: Nuestra Música: Music in Latino Culture
Series 5: Oman: Desert, Oasis, and Sea
Series 6: Special Events
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 2005 Smithsonian Folklife Festival was produced by the Smithsonian Center for Folklife and Cultural Heritage and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
In its 39th year, the Festival once again presented a sample of the diverse cultural heritage of America and the world to large public audiences in an educational, respectful, and profoundly democratic way on the National Mall of the United States. True to form, the Festival illustrated the living, vital aspect of cultural heritage and provided a forum for discussion on matters of contemporary concern.
For the first time, a full-scale Festival program was devoted to an Arab nation, Oman. Oman is at the edge of the Arabian Peninsula, both geographically and historically situated between East Africa and the Indian Ocean. Trade routes, frankincense, silverwork, Islam, a strategic location, and oil have connected it to the cultures of the Middle East, Africa, Asia, the Mediterranean region, and beyond. Contemporary Omanis live poised between a long and rich past and a future they are in the midst of defining. New roads, hospitals, schools, businesses, high-tech occupations, and opportunities for women are developing alongside traditionally valued religion, family life, artistry, and architecture. Omanis are well aware of the challenges of safeguarding their cultural heritage in an era of globalization. The Festival program provided a vivid illustration of the approaches they have taken and enabled American visitors and Omanis to engage in open, two-way interchange.
During the Festival, the U.S. Department of Agriculture Forest Service celebrated its 100th anniversary. Programs in previous years have illustrated the traditions of White House workers and of Smithsonian workers. This Festival examined the occupational culture of Forest Service rangers, smokejumpers, scientists, tree doctors, and many others devoted to the health and preservation of our nation's forests. They were joined by artists and workers from communities that depend upon the forests for their livelihood or sustenance. The Festival offered the opportunity for an active discussion of the significance of our national forests and rangelands to the American people.
Food Culture USA examined the evolution of our nation's palate over the preceding generation. New produce, new foods, new cooking techniques, and even new culinary communities have developed as a result of immigrant groups taking their place in our society, the rise of organic agriculture, and the growing celebrity of ethnic and regional chefs on a national stage. A diversity of growers, food inspectors, gardeners, educators, home cooks and prominent chefs shared their knowledge and creativity as they demonstrated the continuity and innovation in America's culinary culture.
The program in Latino music continued with a series of evening concerts. The 2004 program drew many Latinos to the National Mall, helping the Smithsonian reach out to a major segment of the American population. Audiences in both 2004 and 2005 were thrilled by the performances, as were the musicians who presented their own cultural expressions and thus helped educate their fellow citizens of the nation and the world. Smithsonian Folkways released recordings of three of the groups that had performed the previous year, and one later went on to be nominated for a Grammy award.
The 2005 Festival took place for two five-day weeks (June 23-27 and June 30-July 4) between Madison Drive and Jefferson Drive and between 9th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured four programs and the Rinzler Concert.
The 2005 Program Book included schedules and participant lists for each program; keynote essays provided background on the Festival and on each of the programs (with a Spanish version of the Latino music essay).
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife and Cultural Heritage.
Center for Folklife and Cultural Heritage
Richard Kurin, Director; Richard Kennedy, Deputy Director; Smithsonian Folklife Festival: Diana Parker, Festival Director; Arlene L. Reiniger, Program Specialist; Charlie Weber, Media Specialist; Smithsonian Folkways Recordings/Smithsonian Global Sound: Daniel Sheehy, Curator and Director; Anthony Seeger, Curator and Director, Emeritus; D.A. Sonneborn, Assistant Director; Ralph Rinzler Archives: Jeffrey Place, Archivist; Stephanie Smith, Assistant Archivist; Cultural Heritage Policy: James Early, Director; Cultural Research and Education: Olivia Cadaval, Chair; Thomas Vennum, Jr., Senior Ethnomusicologist Emeritus; Betty J. Belanus, Olivia Cadaval, Nancy Groce, Marjorie Hunt, Diana Baird N'Diaye, Frank Proschan, Peter Seitel, Cynthia Vidaurri, Nilda Villalta, Curators, Folklorists, Education and Cultural Specialists; Carla Borden, Program/Publications Manager; John W. Franklin, Program Manager; Research Associates: Robert Albro, Geri Benoit, Patrick Delatour, Kip Lornell, Mara Mayor, Joan Nathan, Sam-Ang Sam, Preston Scott, Chucho Valdez, Patrick Vilaire, Nilda Villalta; Rockefeller Humanities Fellows (2004-05): Robert Albro, Jane Anderson, Lesley Fordred-Green, Christina Kreps, Tong Lam, Lillian Manzor, Marya McQuirter, Sita Reddy
Folklife Advisory Council
Kurt Dewhurst (chair), Judy Mitoma (vice-chair), Michael Doucet, Anthony Gittens, John Herzog (ex-officio), Barbara Kirshenblatt-Gimblett, Debora Kodish, Enrique Lamadrid, Worth Long, Libby O'Connell, J. Scott Raecker, Robert Santelli, Ricardo Trimillos
Folkways Advisory Board
Michael Asch (chair), Phyllis Barney, Hal Cannon, Don De Vito, Ella Jenkins, Anthony Seeger (ex-officio), Fred Silber
National Park Service
Fran P. Mainella, Director; Donald W. Murphy, Deputy Director; Joseph M. Lawler, Regional Director, National Capital Region
The Festival was supported by federally appropriated funds; Smithsonian trust funds; contributions from governments, businesses, foundations, and individuals; in-kind assistance; and food, recording, and craft sales. Support for this year's Festival came from the Music Performance Fund, with in-kind support provided through Motorola, NEXTEL, WAMU 88.5 FM, WashingtonPost.com, Pegasus Radio Corp., and Icom America.
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.
Forms Part Of:
Smithsonian Folklife Festival records: 2005 Smithsonian Folklife Festival forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The 1981 Festival celebrated the skills and traditions of a cultural minority who, despite their large numbers, frequently pass unnoticed: deaf and hearing-impaired Americans. Recent surveys showed that nearly 14 million Americans had significant hearing loss. But it was not hearing impairment itself that made the deaf a cultural group in their own right: it was language and social interaction - the heart of any community. In recognition of the International Year of Disabled Persons, the 1981 Festival of American Folklife featured a program presenting the folklore and folklife of the deaf.
To be sure, some deaf people chose not to participate in Deaf Culture. These individuals never took up sign communication and mingled very little with deaf social groups, preferring to identify themselves more closely with hearing society. But the great majority of the profoundly deaf - at least 1.5 million people in 1981 - used sign language with one another and cherished it, accepted Deaf Culture and society as a positive value, and shared with their fellows the stories, customs, and pastimes that proclaimed that their way of life is something to be proud of.
No matter where they live or what jobs they hold, no matter what their race, religion, age, or gender, deaf people share similar outlooks and problems living in a hearing world whose messages are garbled and invisible, trying to speak a language never heard, contending daily with stereotypes of the deaf as irrational simpletons to be avoided or, worse yet, to be paternalistically protected. Tales passed from hand to hand in the community powerfully contradict the outside stereotypes. In such stories - and there is a vast repertoire of them - the deaf assert to each other their own strength and resourcefulness and achievements, laugh at situations in which the hearing turn out to be dependent, misunderstanding bumblers, and share rueful chuckles at the "hazards of deafness." Other stories insist that Deaf Culture be recognized and respected.
During the Festival, deaf participants performed their signlore, told stories and jokes emerging from Deaf Culture, and discussed their experiences growing up deaf. American Sign Language was taught in workshops to Festival visitors. Working models of the homemade devices that deaf people have invented to substitute for alarm clocks and doorbells were demonstrated, along with the special technology of deaf culture such as a TTY, a machine that allows deaf people to make phone calls.
A special area for collecting deaf folklore on videotape was available to all deaf visitors to the Festival, and they were invited to come to the Deaf Folklore area and share any jokes, riddles, stories, or puns with Smithsonian researchers.
Participants:
William Ennis, signlore and storytelling, Greenbelt, Maryland
Tom Fields, demonstration of deaf technology, storytelling, Rockville, Maryland
Jack R. Gannon, signlore and storytelling, Silver Spring, Maryland
Barbara Kannapell, signlore and storytelling, Washington, D.C.
Ella Mae Lentz, signlore poetry, lecturer, Landover Hills, Maryland
Don Pettingill, signlore and storytelling, Seabrook, Maryland
Jan de Lap and Studio 101, traditional folk theater, Washington, D.C.
John Mark Ennis, interpreter, Cheverly, Maryland
Charles M. Dietz, interpreter, Alexandria, Virginia
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: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Through an oral history interview, William Langford talks about his early childhood, teenage years, military career, postal service career, and retirement. Langford was raised by his grandmother, who instilled respect of all people in him. He describes his experiences with racism, including negative experiences with police and acceptance of racism/segregation. He talks about his experiences in the Army Air Force, particularly his time stationed in Japan, and his thoughts on Pearl Harbor. Langford talks about his many years as a letter carrier for the US Postal Service in Washington, D.C.; he delivered mail to John F. Kennedy. He expresses his thoughts on music, specifically jazz, go-go, and rap; the Civil Rights Movement; and the Negro League. Langford also talks about his marriage, his surrogate daughter Judy, and the role religion plays in his life.
Interview. Part of the National Visionary Leadership Project 2003. Dated 20030604.
Biographical / Historical:
Co-founded in 2001 by Camille O. Cosby, Ed.D. and Renee Poussaint, The National Visionary Leadership Project (NVLP), a nonprofit, tax-exempt organization, unites generations to create tomorrow's leaders by recording, preserving, and distributing through various media, the wisdom of extraordinary African American elders - Visionaries - who have shaped American history. National Visionary Leadership Project 2003 collection contains five videotaped oral history interviews conducted in partnership with the National Visionary Leadership Project and the Anacostia Community Museum's Education Department in 2003. Interviewees include Georgette Seabrooke Powell, William Langford, Louise Daniel Hutchinson, Jeannine Clark, and Charles Clark. Full transcripts of the interviews are available for reference in the archive.
General:
Title transcribed from cover page of the video recording's transcript.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Legacy Keepers: Interview of William Langford, National Visionary Leadership Project 2003, Anacostia Community Museum Archives, Smithsonian Institution.
Oldenburg, Claes, 1929- -- Photographs Search this
Extent:
3.9 Linear feet
7.98 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Vhs (videotape format)
Diaries
Transcripts
Interviews
Video recordings
Scrapbooks
Photographs
Date:
1964-2009
Summary:
The papers of painter, sculptor, and performance artist Robert Delford Brown measure 3.9 linear feet and 7.98 GB and date from 1964-2009. The papers document his career as an artist and in particular the arts space "church" he founded in New York City, known as The First National Church of Exquisite Panic, Inc. The collection consists of biographical material, correspondence, church records, printed and digital material, photographic material, and video records of performance art. Brown's early career is documented in one scrapbook containing photographs, notes, press materials, and select artwork and documentation of ephemeral and performance artworks.
Scope and Content Note:
The papers of painter, sculptor, and performance artist Robert Delford Brown measure 3.9 linear feet and 7.98 GB and date from 1964-2009. The papers document his career as an artist and in particular the arts space "church" he founded in New York City, known as The First National Church of Exquisite Panic, Inc. The collection consists of biographical material, correspondence, church records, printed and digital material, photographic material, and video records of performance art. Brown's early career is documented in one scrapbook containing photographs, notes, and press materials.
Biographical material includes a career summary, one diary, one interview transcript, and two interview recordings on videocassette. Correspondence is minimal and includes four letters written by Brown and letters and postcards from others. Printed material consists mostly of books and event announcements documenting Brown's career. Photographs depict his travels in Brazil and China, artwork, and a collaborative event in Paris. Video recordings depict a solo performance art piece and three collaborative performance art events.
Records of the First National Church of Exquisite Panic, Inc. include items produced for events, such as graphics, a t-shirt, "teachings," as well as reproductions of artwork created as part of the church. Also included are founding documents and manifestos.
One scrapbook contains detailed documentation on Brown's career from 1964 to 1974. Included are photographs and press materials for his "Meat Show" event, additional records of the founding of his church, and photographs of various events and happenings at his church. People depicted in the photographs include Brown, Claes Oldenburg, and art critic Mario Amaya, among others.
Artwork includes works on paper incorporating stamps and text from around 2002 to 2008, as well as artwork documentation for ephemeral and performance artworks including Originale (1964), Out of Order Please Use Toilet Down the Hall Across the Lobby (1965), Free Striptease with Drum and Bugle Corps Accompaniment (1966), The Great Building Crack-Up (1967), Mr. Jesus Christ Contest (1972), Turd Forest (1972), and others.
Arrangement:
The collection is arranged as 8 series:
Missing Title
Series 1: Biographical Material, 1992-2009 (Box 1, 5; 0.7 linear feet, ER01; 2.23 GB)
Series 2: Correspondence, 1970-2009 (Box 1; 4 folders)
Series 3: First National Church of Exquisite Panic, Inc. Records, 1968-2000s (Box 1, 4, 5; 0.7 linear feet)
Series 4: Printed Material, 1964-2008 (Box 1-2; 0.4 linear feet)
Series 5: Photographic Material, 1965-2009 (Box 2-3; 1.1 linear feet, ER02; 0.785 GB)
Series 6: Video Recordings of Performance Art, 1994-2005 (Box 3; 0.4 linear feet, ER03-ER05; 4.96 GB)
Series 7: Scrapbook, 1964-1974 (Box 5; 4 folders)
Series 8: Artwork, circa 1965-2008 (Oversize 6-7)
Biographical Note:
Robert Delford Brown (1930-2009) was a painter, sculptor, and performance artist practicing in New York City, N.Y. Brown was a participant in many art happenings in New York during the 1960s and frequently performed in the persona of a religious leader and founder of his own religion and church, The First National Church of the Exquisite Panic, Inc. which functioned as a community arts space.
Brown was born in Portland, Colorado. His family later moved to Long Beach, California, and he recived bachelor's and master's degrees at University of California, Los Angeles. He began his career as a Surrealist and Abstract Expressionist painter, and in 1959 moved to New York City. In 1963 he married Rhett Cone. While visiting Paris he met the artist Allan Kaprow who encouraged him to participate in a 1964 performance of Karlheinz Stockhausen's "Originale." This performance served as the inspiration for founding The First National Church of Exquisite Panic, Inc. That same year Brown also gained media attention for his "Meat Show," an installation of raw meat which he created in a refrigerated room at the Washington Meat Market in New York City.
In 1967 Brown selected a former New York City branch library as a home for his church and hired Modernist architect Paul Rudolph to redesign the interior. He called the space "The Great Building Crack-Up" and lived there until 1997, hosting art exhibitions, happenings, and preaching his philosophy known as Pharblongence. During Brown's later career he organized many participatory art events, such as "Collaborative Action Gluings." He moved to Houston, Texas in 1997 and later moved to Wilmington, North Carolina, in preparation for a solo exhibition at the Cameron Art Museum in 2008. Robert Delford Brown died in 2009.
Provenance:
Donated in 2010 and 2018 by Lynda Roscoe Hartigan who purchased the collection at auction.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Topic:
Painters -- New York (State) -- New York Search this
Performance artists -- New York (State) -- New York Search this
Genre/Form:
VHS (videotape format)
Diaries
Transcripts
Interviews
Video recordings
Scrapbooks
Photographs
Citation:
Robert Delford Brown papers, 1964-2009. Archives of American Art, Smithsonian Institution.
Through the Looking Glass Darkly: Struggle for Rights (Motion picture : 1973)
Afro-Americans and the Evolution of a Living Constitution (Video recording : 1988)
Life and Times of Richard Allen (Video recording : 1990)
Harlem Renaissance (Video recording : 1986)
Creator::
Smithsonian Institution. Office of Telecommunications Search this
Extent:
1.5 cu. ft. (1 record storage box) (1 document box)
Type:
Collection descriptions
Archival materials
Videotapes
Motion pictures (visual works)
Place:
Oklahoma -- History
Date:
1973, 1986, 1988, 1990, undated
Descriptive Entry:
This accession consists of audiovisual materials created during the production of "Through the Looking Glass Darkly: Struggle for Rights;" "Afro-Americans and the Evolution
of a Living Constitution;" "Life and Times of Richard Allen;" and "Harlem Renaissance." "Through the Looking Glass Darkly: Struggle for Rights," produced in 1973, deals with
the history of African Americans in Oklahoma. The Smithsonian Institution may have repurposed all or part of this production from an Oklahoma television station. "Afro-Americans
and the Evolution of a Living Constitution" is a videotape of a live teleconference of the same name held on March 16, 1988. "Life and Times of Richard Allen" accompanied
an exhibition at the Anacostia Museum in 1990. Richard Allen was the first bishop of the African Methodist Episcopal Church. "Harlem Renaissance" is a 15 minute film produced
in 1986. It accompanied an Anacostia Neighborhood Museum exhibition of the same name. Materials include negatives, soundtracks, source tapes, masters, and related materials
on film, videotape, and magnetic tape. Materials also include a videotape of exterior footage of the Anacostia Museum.
Restrictions:
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing copies are not currently available. Viewing copies can be made for a fee. Contact reference staff for details.
The Òṣogbo connection : transnational identities, modernity and world view of Yoruba Americans in Sheldon, South Carolina and Alachua County, Florida / by Ajani Ade Ofunniyin
