Ng'ambo atlas historic urban landscape of Zanzibar Town's 'other side' Department of Urban and Rural Planning, Zanzibar ; African Architecture Matters ; text, Antoni Folkers [and three others] ; editors, Antoni Folkers and Iga Perzyna
Title:
Historic urban landscape of Zanzibar Town's 'other side'
Author:
Zanzibar Department of Urban and Rural Planning Search this
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Scope and Contents:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.
Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.
Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.
Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.
Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.
Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.
Arrangement:
The collection is arranged into 6 series:
Missing Title
Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)
Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)
Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)
Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)
Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)
Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)
Biographical / Historical:
Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.
Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.
In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.
To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.
Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.
Related Materials:
The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.
Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T
he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.
Provenance:
The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.
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.
Occupation:
Educators -- New York (State) -- New York Search this
1.45 Cubic feet (consisting of 3 boxes, 2 folders, 2 oversize folders, 1 map case folder, plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Speeches
Monographs
Newsclippings
Fliers (printed matter)
Clippings
Newspaper clippings
Books
Realia
Magazines (periodicals)
Plates (illustrations)
Programs
Application forms
Illustrations
Concert programs
Signs (declaratory or advertising artifacts)
Booklets
Publications
Transcriptions
Certificates
Pamphlets
Date:
1787-1964
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
The subject category Women documents the Suffrage Movement within the United States, as well as aspects of women's lives and societal contributions. This includes information about women's social lives, fashion, health, occupations, as well as commentary about the roles and expectations of many women in society. There is a notable shortage of material related to women of color.
Women includes newslippings, and material related to pro and anti-Suffrage efforts such as fliers, speeches, monographs, and realia. Outside of Suffrage-related topics, Women also includes artistic prints and images of women, poems about women, and serial publications related to women's issues or oriented towards an audience of women.
Women includes a span of subject materials related to more specfic aspects of women's lives and social commentary. This includes historical overviews of notable women's lives, guides to aspects of womanhood, fashion documentation, literature to promote good health, and background about the role of women in varied trades.
No single subtopic is explored in particular depth, though Women offers general information about various aspects of women's lives and varied social and political environments.
Arrangement:
Women is arranged in three subseries.
Suffrage Movement
Genre
Subject
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Women is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, and it was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published since Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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.
Warshaw Collection of Business Americana Subject Categories: Women, Archives Center, National Museum of American History, Smithsonian Institution.
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
John Outterbridge papers, 1953-1997. Archives of American Art, Smithsonian Institution.
Donald Thoms, a former performer on 'The Buddy Dean Show,' explained how he became a teenage dancer on the show; how people in his school and neighborhood reacted to his participation in the show; and his feelings about the segregation practices of the show. Arlene Kozak spoke about Buddy Dean, 'The Buddy Dean Show,' and her role as a producer for the show. She explained how the teenagers were selected for the show, the segregation of the show, and the social interaction between white teens and black teens. Additionally, she discussed television station's (WJZ-Baltimore) reaction to the possibility of integrating 'The Buddy Dean Show.' The interviews were part of the research for the documentary 'Dance Party: The Teenarama Story.' After the interviews, there is footage of production materials related to the film 'Hairspray' and exterior shots of The Senator in Baltimore, Maryland.
Interviews and b-roll footage. Part of the Teenarama Collection. Timecode burnt into image. Undated.
Biographical / Historical:
The documentary 'Dance Party: The Teenarama Story' examined the popularity of 1950s and 1960s teen dance television shows, including 'The Teenarama Dance Party,' 'American Bandstand,' 'The Buddy Dean Show,' and 'The Milt Grant Show.' 'The Teenarama Dance Party' was an all-black teen dance show produced and broadcasted in Washington, D.C. The show aired from March 7, 1963 to November 20, 1970 on WOOK-TV Channel 14, which was the nation's first Black TV station. The show was produced live six days a week; and hosted first by Bob King and later by a rotation of hosts. In addition to being a dance show, 'The Teenarama Dance Party' was a training ground for teens. Production staff mentored the teenagers in the art of broadcast production. The teens trained as camera operators, floor directors, and technical engineers; and served as production assistants.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Teenarama: Interviews with Donald Thoms and Arlene Kozak, Anacostia Community Museum Archives, Smithsonian Institution.
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
104 Film reels (black-and-white color silent sound; 57,400 feet, 16mm)
Linear feet
Type:
Collection descriptions
Archival materials
Film reels
Sound films
Place:
Europe
Andalusia (Spain)
Date:
1969-1982
Scope and Contents:
Edited films films by Jerome Mintz made in Casa Viejas, Andalusia, Spain: Pepe's Family, The Shoemaker, Romeria: Day of the Virgin, Carnaval de Pueblo, The Shepherd's Family, Perico: the Bowlmaker and film outtakes associated with these six titles. Collection also contains audio tapes and still photographs.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or Anthropology Archives, but is available in its original form to facilitate research.
Biographical / Historical:
Jerome R. Mintz was a professor of anthropology and Jewish studies at Indiana University. He earned a B.A. from Brooklyn College, an M.A. from the City University of New York, and a Ph.D. from Indiana University. Mintz received the National Jewish Book Award in 1993 for "Hasidic People: A Place in the New World." He also received international recognition for his work in Andalusia, Spain. His book "The Anarchists of Casas Viejas" (1982) is considered the most comprehensive account of the tragic events surrounding the 1933 uprising in the small rural town of Casas Viejas. Mintz produced six films on tradition and change in Andalusia, Spain.
Related Materials:
The Jerome R. Mintz papers are in the National Anthropological Archives, Smithsonian Institution.
Provenance:
Received from Carla Aviva Mintz Tavel and Betty Mintz in 2011.
Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
This collection contains the professional papers of Conrad M. Arensberg, anthropologist, university professor, and anthropological consultant. Included are correspondence; published and unpublished writings; research materials, including notes, correspondence, diaries, charts, drafts, interviews, research plans, reports, project proposals, and bibliographic cards; speeches; pamphlets; articles from newspapers and periodicals; course materials, including bibliographies, lecture notes, reading lists, assignments, exams, project proposals, and syllabi; curriculum vitae; date books; scholarly papers and publications of other scholars; and photographs.
Scope and Contents:
This collection contains the professional papers of Conrad M. Arensberg, anthropologist, university professor, and anthropological consultant. Included are correspondence; published and unpublished writings; research materials, including notes, correspondence, diaries, charts, drafts, interviews, research plans, reports, project proposals, and bibliographic cards; speeches; pamphlets; articles from newspapers and periodicals; course materials, including bibliographies, lecture notes, reading lists, assignments, exams, project proposals, and syllabi; curriculum vitae; date books; scholarly papers and publications of other scholars; and photographs.
The materials in this collection document Arensberg's career as a university professor, his relationships with colleagues across a spectrum of disciplines, and his contributions to the field of anthropology. As a respected member of the anthropological community, Arensberg received a voluminous amount of correspondence from his peers, who often included copies of their most recent papers. He kept many of these works, which, along with his annotations, can be found throughout the collection. It appears he used these papers in a variety of ways, including as resources for his classes or as reference materials. Arensberg's own work is reflected in his writings and research files. Arensberg's Ireland research, despite its importance to his career and to the field of anthropology as a whole, has a minimal presence in the collection. Located in Series 3. Research Files, the subseries containing Arensberg's Ireland material primarily consists of photocopies of his correspondence, field notes, and diaries during this time. His role as a professor, rather than as a researcher or writer, is the most well-represented in the collection. Arensberg formed lasting relationships with many of his students, as evidenced by his continued correspondence with many of them long after their years at Columbia.
Arrangement:
The collection is organized into 8 series:
Series 1) Correspondence, 1933-1994
Series 2) Writings, 1936-1983
Series 3) Research files, 1931-1984
Series 4) Professional activities, 1933-1990
Series 5) Teaching files, 1938-1983
Series 6) Biographical files, 1946-1997
Series 7) Subject files, 1934-1979
Series 8) Photographs, undated
Biographical Note:
Conrad M. Arensberg was born on September 12, 1910 in Pittsburgh, Pennsylvania. Academically inclined from a young age, he graduated first in his class at Shadyside Academy in Pittsburgh. His early success earned him admittance to Harvard College. Arensberg studied anthropology and graduated summa cum laude in 1931.
As a graduate student at Harvard University, Arensberg was asked to join a project being conducted in Ireland by Harvard's Anthropology Department. Alongside W. Lloyd Warner and Solon T. Kimball, Arensberg spent three years studying rural Irish life in County Clare. This research resulted in his doctoral dissertation, "A Study in Rural Life in Ireland as Determined by the Functions and Morphology of the Family," which was later published as The Irish Countryman in 1937. His work was groundbreaking in the field of anthropology, and his study of County Clare "became a model for other community studies... requiring that researchers study a target culture from the inside, making meticulous notes on everything they saw, heard or experienced." Arensberg reshaped the way that anthropologists approached fieldwork and opened doors for the study of modern industrial societies.
Arensberg had a long teaching career. He first became a university professor in 1938 at the Massachusetts Institute of Technology and remained a professor for the rest of his life, teaching at MIT, Brooklyn College, Barnard College, Columbia University, the University of Florida, and the University of Virginia. At Columbia, Arensberg worked alongside such notable anthropologists as Margaret Mead, Charles Wagley, and Marvin Harris.
Arensberg officially retired in 1979, but he continued to collaborate with his colleagues, counsel past students, and participate in professional associations until his death. He passed away on February 10, 1997 in Hazlet, New Jersey.
Curriculum Vitae—Amended Posthumously. Series 6. Biographical Files. Conrad M. Arensberg papers, National Anthropological Archives, Smithsonian Institution.
Thomas, Robert McG. Jr. 1997. "Conrad Arensberg, 86, Dies; Hands-On Anthropologist." New York Times, February 16: 51.
Chronology
1910 September 12 -- Born in Pittsburgh, Pennsylvania
1931 -- B.A. from Harvard College
1932-1934 -- Traveled to Ireland to study rural life in County Clare as part of the Harvard Irish Mission
1933-1936 -- Junior Fellow, The Society of Fellows, Harvard University
1933-1994 -- Member and Fellow, American Anthropological Association
1934 -- Ph.D. in Anthropology from Harvard University
1937 -- Published The Irish Countryman, the result of his work in Ireland
1938-1940 -- Occasional consultant, U.S. Department of Agriculture, Bureau of American Ethnology
1938-1941 -- Assistant Professor, Department of Social Sciences and Economics, Massachusetts Institute of Technology
1940 -- Founded (with others) the Society for Applied Anthropology
1941-1946 -- Associate Professor and Chairman, Department of Sociology and Anthropology, Brooklyn College
1943-1946 -- Captain, Major, AUS, Military Intelligence Service
1946-1952 -- Associate Professor of Sociology, Chairman (until 1949) Department of Sociology, Barnard College, Columbia University
1951-1952 -- Research Director, UNESCO, Institute for the Social Sciences, Cologne, Germany
1951-1952 -- Editor, Point Four Manual, American Anthropological Association
1952-1953 -- Associate Professor of Anthropology, The Graduate Faculty of Political Science, Columbia University
1953-1970 -- Professor of Anthropology, Chairman (1956-1959), Department of Anthropology, Columbia University
1962-1978 -- Co-Director (with Alan Lomax) of Columbia University's Cross-Cultural Surveys of Social Structure and Expressive Behavior
1970-1979 -- Buttenwieser Professor of Human Relations, Columbia University
1979-1997 -- Buttenwieser Professor Emeritus of Human Relations, Columbia University
1980 -- President, American Anthropological Association
1991 -- First recipient, "Conrad M. Arensberg Award" of the Society for the Anthropology of Work
1997 February 10 -- Died in Hazlet, New Jersey
Related Materials:
Arensberg is listed as a correspondent in the following collections at the Smithsonian Institution's National Anthropological Archives: John Lawrence Angel papers; Papers of Carleton Stevens Coon; Ethel Cutler Freeman papers; Frederica de Laguna papers; Ruth Landes papers; William Duncan Strong papers.
For oral history interviews with Arensberg, see the following collections:
-The Smithsonian Institution's Human Studies Film Archives "Video Dialogues in Anthropology: Conrad Arensberg and Lambros Comitas, 1989." In this video oral history conducted by anthropologist Lambros Comitas, Arensberg comments on his training in anthropology, the individuals who were influential in his career, and the geographical areas where he conducted his fieldwork.
-The National Anthropological Archives Manuscript (MS) 2009-15. May Mayko Ebihara conducted this oral history interview with Arensberg on March 7, 1984 as part of a larger oral history project with anthropologists.
For more concerning Arensberg's work with interaction theory, see the Frederick L.W. Richardson papers at the National Anthropological Archives. Richardson worked closely with Eliot Chapple and Conrad Arensberg on theories concerning human interaction.
For correspondence and other information related to Arensberg's Ireland research, see:
Solon Toothaker Kimball Papers, Special Collections, Teachers College, Columbia University; and Solon Toothaker Kimball Papers, The Newberry Library, Chicago.
Additional materials concerning Arensberg's research and personal life can be found among the papers of his wife, anthropologist Vivian "Kelly" Garrison. See the Vivian E. Garrison papers at the National Anthropological Archives.
Provenance:
These papers were donated to the National Anthropological Archives by Vivian E. Garrison Arensberg in 2011.
Restrictions:
The Conrad M. Arensberg papers are open for research.
Files containing Arensberg's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. For preservation reasons, the computer disk containing digital correspondence files from Joel Halpern is restricted.
Access to the Conrad M. Arensberg papers requires an appointment.
Conrad M. Arensberg papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of Conrad M. Arensberg were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Vivian E. Garrison Arensberg.
Arensberg, Conrad M. (Conrad Maynadier), 1910-1997 Search this
Container:
Box 25
Type:
Archival materials
Text
Date:
undated
Collection Restrictions:
The Conrad M. Arensberg papers are open for research.
Files containing Arensberg's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. For preservation reasons, the computer disk containing digital correspondence files from Joel Halpern is restricted.
Access to the Conrad M. Arensberg papers requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Conrad M. Arensberg papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
The papers of Conrad M. Arensberg were processed with the assistance of a Wenner-Gren Foundation Historical Archives Program grant awarded to Vivian E. Garrison Arensberg.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2017 July 02
Scope and Contents:
Mark Puryear (presenter); Vanessa Eugene; Khandeya Sheppard; Anthony McLean; Adrián Valdivia; "Flash" Lashley (poet) ;This session examines the role of Caribbean American millennials in perpetuating and transforming cultural traditions. Growing up in a dynamic fusion of overlapping Caribbean traditions food, language, religion, dress, and musical traditions, their experiences and creativity have also been shaped by inspiration and social interactions involving other cultural communities. This session is co-presented with the D.C. Caribbean Collective.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2013 June 28
Scope and Contents:
Michelle Goldwasser, Martha Martinez, Georgette Lambey, Imola Zsoldos, Zsuzsanna Zsoldos, Agnes Fulemile Ethnomusicology: research of music and social interaction; collect recordings of Hungarian music; stylistic layers in old and new songs; pentatonicism; Bartok & Kodaly; Romanian influence
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2013 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2014 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Washington, the capital city, has long been known for its official culture and public celebrations such as presidential inaugurations, Independence Day pageantry, military band concerts, state funerals, and embassy receptions. Yet it has another reality, one sometimes hidden behind official functions. Washington, the residential city, burgeons with cultures transplanted from beyond urban, state, and national boundaries as well as hybrid traditions newly rooted in an urban environment.
Metropolitan Washington, with over four million residents in 1993, was home to more than one million African Americans, 250,000 Hispanic Americans, nearly 250,000 Asian/Pacific Americans, and thousands of other peoples from around the world. The metropolitan area had been enriched by a continual influx of people from the South and, more recently, immigrants from Central America, the Caribbean, Southeast Asia, and the Horn of Africa. Viewing the city as an environment of distinctly American possibilities, people have flocked to Washington throughout its 200-year history, in search of refuge, a better life, and greater opportunities for freedom, education, power, respect, employment, and financial security. While some came with abundant wealth, others brought little more than themselves, their values, and their traditions to sustain themselves in their transition to a new situation.
Music was always among the most vital of the intangible traditional resources that helped to support these Washingtonians. Each community developed particular institutions and networks of support facilitating social interaction and exchange of information. Some of these communities were defined by geographical boundaries, such as a neighborhood, and traditions emerged out of that experience. Other communities might have lacked geographic definition but shared common characteristics such as age, ethnicity, occupation, social interests, or even family relationship. The sharing of values, perspectives, and experience created a basis for the existence and growth of tradition. Music provided a channel for the expression of community-based values, on display to Festival visitors in the Metro Music program.
Richard Kennedy and Thomas Vennum, Jr. were Program Coordinators. Metro Music was made possible with the support of the recording industries Music Performance Trust Funds.
Brendan Mulvihill, 1954-, fiddle, Alexandria, Virginia
Odadaa, Ghanaian Music & Dance
Yacub Addy, master drummer, Alexandria, Virginia
Siboney, Cuban Music
Nelson Rodriguez, director, Washington, D.C.
Veltones, Doo Wop
Joe Herndon, Washington, D.C.
Larry Jordan, 1947-, Washington, D.C.
Sunny Payton, Washington, D.C.
George Spann, Washington, D.C.
Moe Warren, 1947-, Bladensburg, Maryland
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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.
Parezo, Nancy J. 1982. "Social Interaction and Learning in the Spread of Navajo Commercial Sandpaintings." In Museum of New Mexico Papers in Anthropology. 75–83. Santa Fe: Museum of New Mexico Press.
2 Film reels (41 minutes, black-and-white sound; 1426 feet, 16mm)
Type:
Archival materials
Film reels
Date:
1978
Scope and Contents:
Edited film shot in Casa Viejas, Andalusia, Spain, documents a migrant laborer's concerns when he needs to confront moving his large family to the town in Germany where he has found work. Film explores his social networks and the challenging decision he must make when his father refuses to leave his rural community.
Legacy Keywords: Language and culture ; Domestic relations ; Family Spain ; Social isolation ; Social interaction ; Occupations ; Rural-urban migration
Local Number:
HSFA 2011.8.2
Collection Restrictions:
The collection is open for research. Please contact the archives for information on availability of access copies of audiovisual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
Jerome Mintz films of Andalusia, Spain, Human Studies Film Archives, Smithsonian Institution
Sponsor:
Processing of the Jerome Mintz film collection was supported by the Wenner-Gren Foundation for Anthropological Research.
