Potosí (Bolivia : Dept.) -- Description and travel.
Puno (Peru : Dept.)
Andes Region -- Economic integration.
Taquili (Peru) -- Economic conditions
Taquili (Peru) -- Social life and customs
The Elayne Zorn Collection measures 11 linear feet and contains thousands of photographic objects including negatives, slides and prints. The collection material spans the years of Zorn's professional and student activity in the fields of anthropology and Latin American studies from around 1975 until 2010. The material in this collection reflects Zorn's long association with the community in Taquile, Peru which led up to the publication of her book, Weaving a Future, in 2004. Zorn also spent a significant amount of time conducting field research in Andean communities in Bolivia examining the relationships between tourism and textiles. Zorn's additional professional activities included serving as a textile collector and expert advisor for museum collections and exhibitions as well as performing academic duties at the University of Central Florida.
Scope and Contents:
The Elayne Zorn Collection spans the years of Zorn's professional and student activity in the fields of anthropology and Latin American studies from 1975 until 2010. This includes material from Zorn's field research in the Andean Regions of Peru and Bolivia as well as her professional activities as a textile collector and expert advisor for museum collections and exhibitions. This collection is arranged into six series with additional subseries. Series 1, Field Research, includes field notebooks, correspondence, and general research from Taquile, Peru, Sakaka, Bolivia and La Paz, Bolivia. Series 2, Professional Activities, includes presentation and lecture notes, object catalogs for various museum collections and Zorn's academic work conducted at the University of Central Florida. Series 3, Publications and Writings, contains both articles written by Zorn, including her Master's thesis and dissertation, and articles published by colleagues. Series 4, Ephemera and Miscellaneous, contains a variety of materials including posters, postcards, datebooks and calendars as well as material gathered by Zorn's former husband, Juan Cutipa. Series 5, Photographs, includes negatives, slides, prints and digital media that document Zorn's work in the field. The bulk of the photographs capture the daily lives of weavers as well as important community holidays and festivals. Series 6, Audio-Visual Materials, includes a small amount of VHS tapes as well as audio-cassettes on which Zorn recorded traditional Andean music performed at festivals she attended in Peru and Bolivia.
Series 1: Field Research, 1975-2006
Subseries 1.1: Taquile, Peru, 1975-1994 [1977-1981]
Subseries 1.2: Sakaka, Bolivia, 1985-1994
Subseries 1.3: La Paz, Bolivia, 2006
Subseries 1.4: Miscellaneous Field Notes, 1976-2006
Series 2: Professional Activities, 1978-2010
Subseries 2.1: Conferences and Presentations, 1977-2009
Subseries 2.2: Museum Work, 1976-2008
Subseries 2.3: General, 1976-2010
Series 3: Publications and Writings, 1979-2009
Subseries 3.1: Elayne Zorn, 1979-2009
Subseries 3.2: Other Authors, 1979-2005
Series 4: Ephemera and Miscellaneous, 1975-2009
Series 5: Photographs, 1970-2006
Subseries 5.1: Negatives, 1976-1997
Subseries 5.2: Slides, 1970-2002
Subseries 5.3: Prints, 1978-2000
Subseries 5.4: Digital Media, 2002-2006
Series 6: Audio-Visual Materials, 1983-1994
Subseries 6.1: Cassette Tapes, 1983-1991
Subseries 6.2: Videotapes, 1991-1994
Biographical / Historical:
Elayne Leslie Zorn was born on February 3, 1952 in New York City. She attended Hunter College High School and Barnard College. She received her Bachelor's of Fine Arts degree in Textile Arts from the California College of the Arts in 1975. She then began a long association with the community on the Island of Taquile, in the Puno region of Peru, conducting fieldwork on native weaving techniques. She also began a long-term affiliation with the Museo Nacional de Etnografia y Folklore in La Paz, Bolivia and collected textiles in the Macusani region of Peru for an exhibit at the California Academy of Sciences. She received her Master's degree in Latin American Studies from the University of Texas, Austin in 1983, with fieldwork concentrated on economic development and tourism in Taquile, Peru. During her time in Peru in the 1970's and 1980's, Zorn became an accomplished musician, playing the charango and Bolivian mandolin in performances in Andean towns as well as in New York City. Zorn resumed graduate studies in 1985 at Cornell University where she received her Master of Arts degree in anthropology in 1987 followed by her Ph.D. in 1997. At Cornell she worked under the supervision of Professor Billie Jean Isbell and conducted much of her dissertation fieldwork in Sakaka, Bolivia focusing on the global transformation of cloth and identity in highland Andean regions. Zorn worked as a visiting Assistant Professor of Anthropology at Colgate University from 1997 to 1998 and then hired as Professor of Anthropology at the University of Central Florida from 1998 until 2010. While at the University of Central Florida, Zorn received both teaching-related and research-related awards as well as grants to continue her fieldwork in the Andean regions of Peru and Bolivia. She also co-directed the PeruVine/PeruDigital Project, an interactive and immersive website to present field data from Peru's Institute of Ethnomusicology online. In 2004 Zorn published her book, Weaving a Future: Tourism, Cloth and Culture on an Andean Island (University of Iowa Press), an analysis of textile traditions as it relates to global change.
In addition to her academic duties, throughout her career Zorn collaborated with various museums and cultural institutions as a consultant and collector. These included, but are not limited to, The Brooklyn Museum, The Textile Museum, Smithsonian Center for Folklife Programs, UNICEF and the Inter-American Foundation. She was also a member of various professional societies including the American Anthropological Association, the Bolivian Studies Association, the Society for Latin American, Carribean, and Latino Studies as well as the Textile Society of America. Zorn passed away June 15, 2010 and was survived by her mother, Sandra Gordon, and her son, Gavriel Cutipa-Zorn.
http://anthropology.cos.ucf.edu/include/file/people/cv/zorn_elayne.pdf (Accessed May 01, 2012)
http://digitalethnography.dm.ucf.edu/pv/Zorn.html (Accessed May 1, 2012)
This collection was donated by Gavriel Cutipa-Zorn, Elayne Zorn's son in April of 2011.
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The 2003 Mali program was an invitation to think about Mali and her important place in the wider world. Mali's influence in West Africa and beyond has been felt for centuries. But her regional, continental, and global connections are not just part of the past. The Festival program also demonstrated Malians' ongoing interest in actively forging new links worldwide.
From Timbuktu to Washington evolved over five years, from a wish and an idea to a fully developed and exciting program of musical performances and cultural activities. Planning was enhanced by the previous relationships, both personal and institutional, between the Smithsonian and Malian cultural institutions and was supported by the Malian government and U.S. agencies in Mali. Malian organizers thoughtfully deliberated about what to share with American visitors and determined how Malian culture in all its diversity should be represented.
Traditional music is a vibrant expression of Mali's cultural diversity and wealth. Each ethnic group and region is characterized by certain musical rhythms, instruments, and compositions - a tremendous diversity of which were reflected in the Festival program. Music is involved in all aspects of life, marking birth, work, marriage, religious ceremonies, and death. For the Malian people, music is fundamental and essential to life: it has a precise function and meaning, and it is inextricably linked to a set of doctrines, ideals, beliefs, and practices whose coherence constitutes the identity of each group. Since beliefs about music are often associated with beliefs about the origin of both music and the ethnic group that performs it, the perpetuation of music is a matter of considerable importance.
Malian crafts are a legacy from the past but also very much a part of the present - and the future. People generally think of crafts as the artistic expression of a civilization or culture, but they are much more. Crafts are an important economic resource for Malians, and in 1995 the government adopted a Craft Code to protect and develop craft activity, which the code defined as all basically manual extraction, transformation, or production of goods or services, in metalwork (such as tool-making and appliance repair), woodwork (from carpentry to paper-making), textile and leather work (such as tailoring and tanning), mining and building trades, food processing and preparation (from meat-cutting to milling grain), health and body care (from hairdressing to incense-making), as well as arts. Crafts encompass not only objects used in rituals and traditional ceremonies, but also objects used in daily life - all demonstrated for Festival visitors on the National Mall. Other presentations focused on Malian vernacular architecture, the building arts, and foodways.
Samuel Sidibé, Oumou Dembélé, Zakiyatou Halatine, Sina Maiga, Stephanie Diakité, Modibo Diarra, and Vanessa Adams constituted the Curatorial Board/General Festival Coordination in Mali; Mary Jo Arnoldi and John Franklin were the Curatorial Team; Aboubakar Sanogo was Program Coordinator; and Diana N'Diaye was Fashion Curator. Music and Dance Commission: Kardigué Laico Traoré and N'tji Bagayoko; Craft Commission: Oumou Maiga; Architecture Commission: Alpha Baba Cissé and Boubacar Mady Diallo; Gastronomy Commission: Ami Sow; Communication Commission: Yiriba Samaké; Tourism Commission: Korotimi Théra; Commercial Crafts Commission: Tidiane Hady Kane.
The Mali National Planning Commission included: Dabele Diassana, Chair; Moussa Konaté; Gaoussou Mariko; Abdoulaye Sow; Germaine Samaké Sylla; Demba Kone; Oumou Maiga; Illal; Fatim Kouyaté; Yriba Samaké; and Mamadou Soubounou. A National Advisory Board included: Mossadeck Shada Bally; Alpha Baba Cissé; Ousmane Daou; Idrissa Diakité; Zakiyatou Halatine; Doulaye Konaté; Adam Ba Konaré, co-chair; Fatim Kouyaté; Adama Samessekou; Bintou Sanankuoa; Klena Sanogo; Samuel Sidibé, co-chair; Bakary Soumanou; Ousmane Sow; Djibril Tabouré; Adam Thiam; Barthélémy Togo; and Ibrahim Ag Youssouf.
The program was made possible by a partnership with the Government of Mali (Office of the President; Office of the Prime Minister; Malian National Folklife Festival Commission; Ministry ofTourism and Crafts; Ministry of Culture; Ministry ofWomen, Family, and Youth Affairs; and Ministry of Education), the World Bank, and the U.S. Agency for International Development. Additional supporting organizations included the U.S. Department of State, Africa Society, Corporate Council on Africa, Friends of Mali, Association of Malians, the Peace Corps, Chemonics Inc., and John Snow Inc.
Ali Farka Touré Group, Niafunke -- Ali Farka Touré Group, NiafunkeAli Farka Touré, electric guitar, vocalsOumar Touré, congas, chorus vocalsAli KontaSouleymane Kane, djembéHamadoun BocoumMamadou Kelly
Baba Larab, Gao -- Baba Larab, GaoGuilemikoye M'bara I., 1956-, dancerArawaidou Yacouba, 1959-, guitarSalif Maiga, 1950-, guitarZéinaba Assoutor, 1977-, dancer
Tartit, Kel Antessar -- Tartit, Kel AntessarMohamed Aly Ansar, leaderIssa Amanou, n'goniMohamed Issa Ag Oumar, n'goniIdwal Ag Mohamed, n'goniFatoumata Walett Mohomadoun, dancerTafa Walett Alhousseini, violinFatoumata HaidaraZeinabu Walett Oumar, tende
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 firstname.lastname@example.org for additional information.
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 Folklife Festival records: 2003 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.