Categorical labels under which the remaining material in the ICSS library was arranged include Theoretical-Culture and Mental Health; Transcultural psychiatry; General psychiatry; Systems; Religion and mental health; Origins and history; Health care delivery-Black; Health care delivery-Hispanic; Health care delivery-General; Organizational issues; Deinstitutionalization; Social science and mental health; Working with healers; Family therapy; Network therapy; Stress, social support, and schizophrenia; System delivery approach; Crisis intervention; Black healing; Black religion; Divination; Healing processes; Concepts of disease; Rootwork; Spiritualism; Voodoo; Spanish healing; Curanderismo; Espiritismo; Santeria; Umbanda; White healing; Charismatic renewal; Evil eye; Herbalism; Holistic healing; Psychic/occult; Readers/advisors; Witchcraft; African healing; Asian healing; South American healing; Altered states of consciousness; Cults; Hot and cold; Shamanism; Spirit possession; General healing; Culture, language, and cognition, etc.; Theory/comparative studies; Clinical; and Misc.
Arrangement:
The material is arranged alphabetically within pre-existing categorical labels. The majority of individual folders in the collection are labeled by author name.
Collection Restrictions:
The Vivian E. Garrison papers are open for research.
Certain materials in the collection contain personally identifiable information (PII) and personal health information (PHI). These materials are restricted for 80 years from the date of their creation. Restricted materials are noted in the following finding aid and have been removed to boxes 54-61.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Original audiovisual material in the Human Studies Film Archives may not be played. Please contact the archives for information on availability of access copies of audiovisual recordings.
Access to the Vivian E. Garrison papers requires an appointment.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Vivian E. Garrison papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
The following sub-series are restricted due to the presence of personal health information (PHI) and personally-identificable information (PII): (3.2) until 2064; (3.3) until 2068; (3.4) until 2063. Any additional restrictions are noted at the item level.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Vivian E. Garrison papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
The following sub-series are restricted due to the presence of personal health information (PHI) and personally-identificable information (PII): (3.2) until 2064; (3.3) until 2068; (3.4) until 2063. Any additional restrictions are noted at the item level.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Vivian E. Garrison papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
The following sub-series are restricted due to the presence of personal health information (PHI) and personally-identificable information (PII): (3.2) until 2064; (3.3) until 2068; (3.4) until 2063. Any additional restrictions are noted at the item level.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Vivian E. Garrison papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
The following sub-series are restricted due to the presence of personal health information (PHI) and personally-identificable information (PII): (3.2) until 2064; (3.3) until 2068; (3.4) until 2063. Any additional restrictions are noted at the item level.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Vivian E. Garrison papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
The following sub-series are restricted due to the presence of personal health information (PHI) and personally-identificable information (PII): (3.2) until 2064; (3.3) until 2068; (3.4) until 2063. Any additional restrictions are noted at the item level.
Collection Rights:
Contact repository for terms of use.
Collection Citation:
Vivian E. Garrison papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
Magazine Que Pasa: in Puerto Rico (Official Visitors Guide to Puerto Rico), Vol. XXII No. 12, December 1970. In pages 8 through 12 there is an article entitled "Puerto Rico's Santería, A True Folk Art".
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Teodoro Vidal Collection, 1592-1992, Archives Center, National Museum of American History.
Recorded in: Washington (D.C.), United States, 1996.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
102 Dance Party- Cuban-American Music / Ife Ile (Musical group), Philbert Armenteros, Rodolfo Caballero. Conga (Drum),Bata (Drum),Chekeré.
Local Numbers:
FP-1996-CT-0174
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, June 28, 1996.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
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 1980 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 7 series.
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: American Talkers
Series 3: Caribbean Americans
Series 4: Community Activities and Food Preservation
Series 5: Finnish Americans
Series 6: Folk Housing and Energy Efficiency
Series 7: Southeast Asian 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 1980 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1980 Festival was the third to use "community" as its over-arching theme, and the last to be held in October. As with recent Festivals, it was held on a site on the National Mall later to be occupied by the National Museum of African American History and Culture, between 14th and 15th Streets and between Constitution Avenue and Madison Drive (see site plan). It was also the first to be organized by the newly-established Office of Folklife Programs (1980-1992), successor to the former Folklife Program of the Office of American and Folklife Studies (1977-1980). The indoor programming in several museums that had characterized the 1977-1979 Festivals was discontinued and all activities were held outdoors.
When families and community groups gather to celebrate or to mourn, Festival Director Ralph Rinzler observed in the program book, they depend on traditional flavors, sounds, dances, and prayers to reinforce their sense of belonging, their group strength and cultural identity. At the annual Folklife Festival, the Smithsonian acknowledged the power of these traditions, which recall the value that Americans continue to place on being members of groups - familial, occupational, ethnic, regional, and religious. Festival organizers considered this recognition a step in the process of cultural conservation, in the belief that cultural variety, on a national and on a global scale, makes life itself more rewarding. Community and identity thus served as the twin poles around which Festival programs were organized.
The 1980 Festival (October 8-13) included a Caribbean Carnival with steel band and calypso competitions; Finnish Americans from northern Minnesota demonstrating a traditional "whip-sled" for children and such crafts as making Christmas tree ornaments from wood shavings; Southern carpenters building a traditional "dog trot" house; Southeast Asians demonstrating weaving, embroidery, stone carving, calligraphy; among others. The Festival asserted that rootedness is a tangible part of the fascination with history, our own or our country's or that of some distant place. This was seen as a part of life that everyone should value, and so the Festival not only celebrated customs and ways of doing things, but evoked the pride of being someone from somewhere. The 1980 Program Book provided information on each of the programs.
The 1980 Festival was again co-presented by the Smithsonian Institution and National Park Service, with support from the U.S. Department of Energy, U.S. Department of Agriculture, and Music Performance Trust Funds. It was organized by the Office of Folklife Programs.
Folklife Advisory Council
Wilcomb E. Washburn, Chairman, Roger Abrahams, Richard Ahlborn, Richard Dorson, William Fitzhugh, Lloyd Herman, Robert Laughlin, Scott Odell, Ralph Rinzler, Peter Seitel, Richard Sorenson, Thomas Vennum
Office of Folklife Programs
Ralph Rinzler, Director; Richard Derbyshire, Archivist; Susan Kalcik, Folklorist; Jeffrey LaRiche, Program Coordinator; Jack Santino, Folklorist; Peter Seitel, Senior Folklorist; Thomas Vennum, Ethnomusicologist; Steve Zeitlin, Folklorist
National Park Service
Russell E. Dickenson, Director; Manus J. Fish, Jr., Regional Director, National Capital Region
Fieldworkers and presenters:
Steve Addiss, John W. Berquist, Charley Camp, Amy Catlin, Dennis Coelho, Héctor Corporán, Amanda Dargan, Richard Flint, Marjorie Hunt, Geraldine Johnson, Fred Lieberman, Howard Marshall, Von Martin, Maxine Miska, Bill Moore, Elliott Parris, Leslie Prosterman, Arthur Rosenbaum, Jack Santino, Marta Schley, Katherine Williams, Margaret Yocom, Steven Zeitlin
Forms Part Of:
Smithsonian Folklife Festival records: 1980 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 by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Three programs at the 1980 Festival focused attention on immigrant communities, two of which involved what was called the "New Immigration", subsequent to passage of the 1965 Immigration and Naturalization Act. The 1965 Act represented an effort to equalize opportunity for immigrants to the United States without favoring the traditional Western-Northern European or Western Hemispheric source countries. The new immigrants tended to be largely urban located and oriented. Because of their visibility and the discrimination against visible minorities, they often suffered multiple levels of disregard by the larger population. The life styles, cultures, and languages of the new immigrants were perceived to be little known, appreciated, or regarded by the general American public as the decade began.
American cities were seen as the frontiers of the new immigrants; the arenas where the wills, interests, and cultures of each group came into contest with those of other ethnic groups; and the settings where competition or coalescence took place among them. It was cities that saw scenes of confrontation between traditions and of adjustments from both sides - natives and immigrants. The cities were also the sites of the celebrations and the contributions of most new immigrants. This was true both for the Southeast Asian Americans program and for the Caribbean Americans program.
Many factors, including the growing acceptance of "cultural pluralism" rather than "Anglo-conformity" as a model for the United States, imbued the contemporary Caribbean immigrant community with the confidence to proclaim and practice openly their Caribbean heritage. An obvious example was the proliferation in many North American cities of the Caribbean festival of Carnival that had been featured in the 1979 Festival. In Boston, Hartford, New York, Montreal, Toronto, and Los Angeles, this festival has emerged as a full-scale annual community celebration, while in Philadelphia, Washington, D.C., Miami, and other cities, some aspects of Carnival can be seen on a smaller scale. One function of these carnivals was the impetus they give to the internal unification of the Caribbean communities themselves. Considerations of class and island origin have tended to divide members of the American Caribbean community from each other, but the carnivals have emerged as Caribbean, and their acceptance by the community as such held the potential for even greater unification in the future.
In addition to Carnival, the Caribbean immigrant community contributed to the American scene in sports, religion, music, dance, literature, and the arts. Cricket, once considered an elite British game, is the sport that every child is introduced to in the Caribbean. West Indians have been credited with bringing to a game that was once considered stylish but stuffy a spirit of fun and fete that can now be enjoyed any Saturday or Sunday afternoon in West Indian communities in such cities as Hartford, Boston, and New York.
In Miami, New York, and Washington, the distindly Caribbean religions of Santeria, the worship of Vodun (Voodoo), and Rastafarianism can be found. Santeria, practiced by many Cubans, is a synthesis of Catholicism with the Yoruba religion of West Africa. Vodun, a Haitian religion, is a similar blend of Christianity and the religious worship of ancient Dahomey. Rastafarianism, however, is a modern religion that originated in Jamaica in the 1930s based on belief in the divinity of the former Emperor of Ethiopia, Haile Selassie, and the perception of Ethiopia as the original homeland to which blacks in the Western Hemisphere should repatriate. Caribbean music was part of the sound of many an American city - whether the Yoruba drumming of Santeria, the reggae rhythms that originated with the Rastafarians, or the rumba, the samba, and the calypso - and likewise part of the 1980 Festival. Syncretism between these Caribbean rhythms and the rhythm-and-blues beat of the United States was demonstrated in such new dance beats as the "salsa" and "soca" (soul-calypso).
Caribbean contributions to American community life featured at the 1980 Festival thus included an impressive record of achievement and an infusion of cultural forms adding to the vitality and diversity of American life through the contributions of immigrant communities.
Katherine Williams was Caribbean Americans Program Coordinator, and Roy Bryce-LaPorte was Special Consultant
Participants:
Miguel Alpizar, Santero, Silver Spring, Maryland
George Andre, 1946-, Brazilian music discussant, Washington, D.C.
Ruthven John Blake, 1947-, publicist & M.C., Silver Hill, Maryland
Elliott P. Boisdore, Mardi Gras discussant, New Orleans, Louisiana
Brightwood Elementary School, Hispanic American games, Washington, D.C.
Marie Brooks & Claude Brooks, dancer and drummer, New York, New York
William Brown, Umbanda discussant leader, Brazilian costumed band, Washington, D.C.
Selwyn Callendar, stick fighter, Washington, D.C.
Isolina Campbell, Botanica, Washington, D.C.
Caribbean American Carnival Day Association (Edward Harry, leader), costume band, Boston, Massachusetts
Sons of His Majesty (Satta Blue, 1954-, leader), Nyabingi drummers, Rastafari discussants, Washington, D.C.
Triangle Systems (Linda Phifer, leader), kiddies and costume band, Washington, D.C.
The Trinidad and Tobago Baltimore Steel Orchestra (Paul Gervais, 1941-, leader), steelband, Baltimore, Maryland
The Trinidad and Tobago Steelband of Washington, D.C. (Franklin Harding, 1941-, leader), steelband, Washington, D.C.
Brian Walker, 1957-, dancer, costume band, Washington, D.C.
Levi Warren, Cornelia Cotillion Square Dance Club, New York, New York
Reginald Warren, Cornelia Cotillion Square Dance Club, New York, New York
The West Indian American Labor Day Association (Carlos Lezama, 1923-, leader), carnival organizer, New York, New York
Peter Whiteman, 1944-, costume designer, costume band leader, Washington, D.C.
The Wild Tchoupitoulas (Jason Berry, agent), Mardi Gras krewe, New Orleans, Louisiana
Connie Williams, cook, Brooklyn, New York
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1980 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1989 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
