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Transforming Teaching and Learning about American Indians: 5 Stephanie Fryberg

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2018-11-09T14:20:53.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_jTz0kiXZx0M

James A. McGrath papers

Creator:
McGrath, James A.  Search this
Names:
Rauschenberg, Robert, 1925-2008  Search this
Tobey, Mark  Search this
Wiley, William T., 1937-2021  Search this
Extent:
5.4 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Poems
Prints
Postcards
Paintings
Sketches
Illustrated letters
Christmas cards
Photographs
Date:
1950-2011
Summary:
The papers of arts educator James A. McGrath measure 5.4 linear feet and date from 1950-2011. Included are McGrath's papers concerning his artist's residencies and workshops for the United States Information Agency (USIA) in the Yemen Republic, Saudi Arabia, and the Republic of the Congo, 1990-1995. Also found are McGrath's papers concerning artist William Wiley. These papers date from Wiley's high school days and includes correspondence, writings, student files, printed materials, photographs, and artwork. Letters from Wiley to McGrath span several decades and provide details about his artwork, family, and travels.
Scope and Content Note:
The papers of arts educator James A. McGrath measure 5.4 linear feet and date from 1950-2011. Included are McGrath's papers concerning his artist's residencies and workshops for the United States Information Agency (USIA) in the Yemen Republic, Saudi Arabia, and the Republic of the Congo, 1990-1995. Also found are McGrath's papers concerning artist William Wiley. These papers date from Wiley's high school days and includes correspondence, writings, student files, printed materials, photographs, and artwork. Letters from Wiley to McGrath span several decades and provide details about his artwork, family, and travels.

James McGrath's papers regarding his artist's residencies and workshops are currently unprocessed.

Wiley's high school student files consist of exams and two Columbia High School yearbooks with contributions from Wiley. Correspondence includes mostly letters written from Wiley to McGrath, some of which are illustrated. There are also Christmas cards, postcards, prints and a wedding invitation and photograph of Wiley and his wife Mary. Wiley writes about his artwork, family, travels and his mother's death. There are also letters to McGrath from Wiley's first and second wives, Dorothy and Mary, his mother, and artists Robert Rauschenberg and Mark Tobey.

Printed materials include exhibition catalogs and announcements, news and magazine clippings, and the books Distraction, Lyrica and Almost Old/New Poems, all illustrated by Wiley.

Artwork by Wiley includes block prints, sketches and drawings, poems, paintings, prints and posters. Photographs are of Wiley's high school yearbook staff, art work and exhibitions, and a dinner honoring Wiley. There is a signed high school photograph of Wiley and a booklet of photographs of an exhibition of McGrath's art. There are also slides of artwork by Wiley, Bob Hudson and Bill Allan.
Arrangement:
The papers are arranged as 2 series.

Missing Title

Series 1: James A. McGrath Papers Concerning William T. Wiley (Box 1-3, OVs 4-6; 2.0 linear feet)

Series 2: Unprocessed James A. McGrath Papers, circa 1990-1995 (Boxes 7-9, OVs 10-12)
Biographical Note:
Arts educator James A. McGrath was a high school art teacher at Columbia High School in Richland, Washington where he taught William T. Wiley in the mid-1950s. They remained life-long friends. Later, McGrath worked at the Institute of American Indian Arts in Santa Fe as Director of Arts, Professor of Painting, and Dean. In 1973 he became Director of Arts, Humanities and Culture in the Department of Defense and was stationed in Japan, Korea, Okinawa, Taiwan and the Philippines. He also worked for the United States Information Agency in Yemen, Saudi Arabia and the Republic of the Congo. He continues to be active as an arts education specialist.

William T. Wiley (1937-2021) was a contemporary artist painting and teaching primarily in the San Francisco area. His artwork is associated with the Bay area Funk Movement. Wiley studied at the California School of Fine Arts and completed his MFA in 1962. One year later he joined the faculty of the UC Davis art department along with artists Robert Arneson and Roy DeForest. Wiley's students included Bruce Nauman and Deborah Butterfield.

Wiley's first solo exhibition was held at the San Francisco Museum of Modern Art in 1960, and he had works in the Venice Biennial (1980) and Whitney Biennial (1983), as well as major exhibitions at the San Francisco Museum of Modern Art and the M.H. de Young Memorial Museum in San Francisco. His artwork is in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Whitney Museum of American Art, the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden and the Los Angeles County Museum of Art, among many others. Wiley was the recipient of the Guggenheim Fellowship Award in 2004 and, in 2009, the Smithsonian American Art Museum presented a retrospective exhibition of Wiley's career.
Related Material:
The Archives of American Art also holds several collections related to William T. Wiley including an oral history interview conducted by Paul J. Karlstrom, October 8-November 20, 1997 and the William T. Wiley illustrated journals on microfilm reel 910. The University of Washington also holds papers of James A. McGrath.
Separated Material:
Six Documenta catalogs, originally donated to AAA with the James A. McGrath Papers Concerning William T. Wiley, were transferred to the Smithsonian Institution Libraries.
Provenance:
The papers were donated by James A. McGrath in five accessions between 2010-2015. A drawing on tree bark was donated by William T. Wiley in 2016.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Topic:
Performance artists -- California -- San Francisco  Search this
Illustrators -- California -- San Francisco  Search this
Genre/Form:
Drawings
Poems
Prints
Postcards
Paintings
Sketches
Illustrated letters
Christmas cards
Photographs
Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mcgrjame
See more items in:
James A. McGrath papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f46f5e33-d56b-4f72-9bdc-6c6a5de8071b
EDAN-URL:
ead_collection:sova-aaa-mcgrjame

John Davis Hatch papers

Creator:
Hatch, John Davis  Search this
Names:
St. John's College (Annapolis, Md.) -- Students  Search this
University of Oregon -- Faculty  Search this
Bluemner, Oscar, 1867-1938  Search this
Browne, Henry Kirke  Search this
Callahan, Kenneth, 1905-1986  Search this
Clark, Ezra  Search this
Cranch, John, 1807-1891  Search this
Cropsey, Jasper Francis, 1823-1900  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Granger, C. H.  Search this
Guy, Seymour J., 1824-1910  Search this
Harvey, George W., 1855-  Search this
Hatch, Olivia Stokes  Search this
Henry, Edward Lamson, 1841-1919  Search this
Inman, Henry, 1801-1846  Search this
McNeill, Lloyd  Search this
Peale, Rembrandt, 1778-1860  Search this
Scott, Julian  Search this
Trumbull, John, 1756-1843  Search this
Vanderlyn, John, 1775-1852  Search this
Extent:
24.9 Linear feet
Type:
Collection descriptions
Archival materials
Essays
Reviews (documents)
Photographs
Diaries
Sketchbooks
Notes
Lectures
Sketches
Date:
1790-1995
Summary:
The papers of art historian, collector, educator, and museum administrator John Davis Hatch measure 24.9 linear feet and date from 1790-1995. Within the papers are biographical materials; correspondence; personal business and legal documents; diaries; research, organization, and teaching files; writings; printed materials; photographs; and works of art (mostly sketches) by American artists. Research files regarding artists and specific subjects comprise the bulk of this collection.
Scope and Content Note:
The papers of art historian, collector, educator, and museum administrator John Davis Hatch measure 24.9 linear feet and date from 1790-1995. Within the papers are biographical materials; correspondence; personal business and legal documents; diaries; research, organization and teaching files; writings; printed materials; photographs; and works of art (mostly sketches) by American artists. Research files regarding artists and specific subjects comprise the bulk of this collection.

Scattered biographical materials include an invitation to the Hatch's anniversary party in 1964, short biographical sketches and resumes, certificates, report cards, a silhouette of the Hatch Family circa 1904, and a typecript of a diary written by Olivia Hatch as a child.

Correspondence includes professional correspondence between Hatch and colleagues; letters from family and friends; and some materials regarding exhibitions from the Hatch Collection. The bulk of correspondence spans Hatch's professional career although there are scattered letters from 1915-1943 from Hatch to his parents. Also found are letters addressed to an unidentified "Henry." Correspondence is also found in the research files.

Personal business and financial records consist of inventories, bills, receipts, and other records for artworks purchased, loaned, or donated by Hatch. Also found are records from the J. D. Hatch Associates Cultural Consultants, a draft of Hatch's will, stock and tax materials, and travel papers and passports.

Scattered diaries and journal fragments and a transcript date from 1925-1965. Thirteen "Daily Reflection Journals" date from 1975-1987.

Research files on artists and subjects are extensive, comprising one-half of the collection. Files are varied and may include primary research materials, correspondence, printed materials, notes, and writings. Some of the artists' letters and other materials dated from 1790-early 1800s may have been purchased by Hatch. Among many other items, there is an illustrated letter written by Oscar Bluemner and photographs of Bluemner; primary research materials dating from the early 1800s on John Vanderlyn including a will, receipts, and correspondence; a letter from Rembrandt Peale dated 1830, and an autograph letter from John Trumbull dated 1790. Also found is an index card file.

Organization files contain files and records related to Hatch's affiliations with many cultural organizations. A small amount of teaching and education files consist of Hatch's notes and lectures from the University of Oregon and the University of Massachusetts, and from his continuing education courses he took at St. John's College. Writings and notes include short essays by Hatch, mostly concerning art, exhibitions and museum administration; book reviews; general notes, lists, and reports.

Printed Materials are comprised of exhibition catalogs and announcements, including those from the American Drawing Annual in the 1940s-1950s; printed articles annotated by Hatch; clippings; pricelists; and published works.

A small number of photographs are of Hatch, some by Dorothy Frazer; of his family and friends; and of artists. The bulk of the photographs are of works of art including those owned by Hatch.

Artwork includes two sketchbooks - one by Kenneth Callahan and another by Lloyd McNeill; and additional drawings and sketches by Julian Scott, Henry Kirke Browne, Kenneth Callahan, Ezra Clark, John Cranch, Jasper Francis Crospey, F. O. C. Darley, C. H. Granger, Seymour J. Guy, George Harvey, Edward Lamson Henry, Henry Inman, as well as unsigned or illegible names.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Information, circa 1900-1980s (Box 1; 8 folders)

Series 2: Correspondence, 1903-1990s (Box 1-3; 2 linear feet)

Series 3: Personal Business and Legal Records, Date (Box 3; 0.3 linear feet)

Series 4: Diaries and Journals, 1925-1987 (Box 3, 23; 1.2 linear feet)

Series 5: Research Files, 1790-1992 (Box 3-13, 20-21, 24; 12.7 linear feet)

Series 6: Organization Files, 1930s-1990s (Box 13-14; 1.0 linear feet)

Series 7: Teaching and Education Files, 1930s-1993 (Box 14-15; 1.0 linear feet)

Series 8: Writings and Notes, 1936-1990s (Box 15; 0.3 linear feet)

Series 9: Printed Material, 1870s-1990s (Box 15-19, 22, 25-26, OV1; 5.9 linear feet)

Series 10: Photographs, circa 1900-1990s (Box 22; 0.2 linear feet)

Series 11: Artwork, 1851-1973 (Box 22; 0.3 linear feet)
Biographical Note:
Art historian, collector, educator, and museum administrator John Davis Hatch (1907-1996) worked in the Boston and New England area, as well as the Pacific Northwest, and New York state. Hatch served as director of the Art Institute of Seattle, the Isabella Stewart Gardner Museum, the Albany Institute of Art and History, and the Norfolk Museum of Art and Sciences.

John Davis Hatch was born in San Francisco, California in 1907. His father, grandfather, and great-grandfather were architects and Hatch studied landscape architecture at the University of California, Berkeley. He served as an apprentice to Lockwood de Forest. After abandoning landscape architecture, he accepted a position as director of the Seattle Fine Arts Society (1928-1931) at the age of twenty-one and taught art history courses at the University of Washington.

In 1932, Hatch accepted the position of assistant director of the Isabella Stewart Gardener Museum in Boston, Massachusetts. He also directed the federal Public Works of Art Project in New England. Additionally, Hatch served from 1940-1948 as director of the Albany Institute of Art and History and from 1950-1959 of the Norfolk Museum of Arts and Sciences. Hatch worked as an art advisor for exhibitions at five historically African-American colleges in Atlanta and in San Simeon in California. He founded the American Drawing Annual exhibition.

Hatch conducted extensive research on artists Oscar Bluemner and John Vanderlyn, American silverwork, and American drawing. In addition, Hatch collected American drawings and later donated many of works of art from his personal collection to the National Gallery in Washington, D.C. Aside from his early teaching in Washington state, Hatch taught at the University of Massachusetts and the University of Oregon. He was a member of numerous professional arts-related organizations.

In 1939, Hatch married Olivia Stokes with whom he had four children: Sarah, John, Daniel and James. He died in 1996.
Related Material:
The Archives of American Art holds two oral history interviews with John Davis Hatch: June 8, 1964 conducted by H. Wade White and 1979-1980 conducted by Robert F. Brown. Also found is a separately cataloged photograph of Hatch and Henry Francis Taylor from 1933.

Additional research materials complied by Hatch are located in the Albany Institute of History and Art, the Metropolitan Museum, the library of the National Gallery of Art, and the Senate House, Kingston, New York.

Hatch donated two hundred and seventy American drawings to the National Gallery of Art in Washington, D.C.
Separated Material:
Four books annotated by Bluemner, a letter from Bluemner, a letter from A. Stieglitz to Bluemner, photographs of works of art, and exhibition materials were removed from the papers and merged with the Oscar Bluemner papers at the Archives of American Art.
Provenance:
John Davis Hatch and the John Davis Hatch estate donated his papers to the Archives of American Art in several installments between 1960-1996. Many of the primary materials relating to John Vanderlyn were acquired by Hatch from a photographer in Kingston, New York, who received them from a niece of Vanderlyn. Robert Graham of James Graham and Sons gave Vanderlyn's will to Hatch.
Restrictions:
Use of originals requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Massachusetts  Search this
Topic:
Painting, American  Search this
Drawing, American  Search this
Art, American  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American -- Study and teaching  Search this
Genre/Form:
Essays
Reviews (documents)
Photographs
Diaries
Sketchbooks
Notes
Lectures
Sketches
Citation:
John Davis Hatch, 1790-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hatcjohn
See more items in:
John Davis Hatch papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f9d7e11d-96d4-431a-b318-c86a9cf6dda6
EDAN-URL:
ead_collection:sova-aaa-hatcjohn
Online Media:

Learning Across Time and Place: The Role of Museums in the Informal Educational Landscape

Creator:
Smithsonian Education  Search this
Type:
YouTube Videos
Uploaded:
2009-03-17T16:56:22.000Z
YouTube Category:
Education  Search this
Topic:
Education  Search this
See more by:
SmithsonianEducation
Data Source:
Smithsonian Education
YouTube Channel:
SmithsonianEducation
EDAN-URL:
edanmdm:yt_Qoy8YJCuD1o

H. Arlo Nimmo papers

Creator:
Nimmo, Harry  Search this
Extent:
5 Linear feet (6 document boxes, 5 card file boxes, 1 binder box, 1 flip-top box plus 16 sound reels; and 12 maps (6 of which are duplicates))
Culture:
Filipinos  Search this
Tausug (Philippine people)  Search this
Bajau (Southeast Asian people)  Search this
Type:
Collection descriptions
Archival materials
Chants
Stories
Songs
Correspondence
Maps
Sound recordings
Slides (photographs)
Place:
Tawitawi (Philippines)
Date:
1965-1967
1963
Summary:
The papers of H. Arlo Nimmo document his field research among the Bajau (also known as Sama Dilaut) in Tawi-Tawi Province in the southern Philippines in 1963, 1965-1967, 1977, 1982, and 1997. The collection consists of correspondence, field journals, censuses, genealogies, kinship charts, transcripts of songs, unpublished manuscripts, card files, photographs, sound recordings, and maps. Nimmo's initial research focused on social change, but he collected data about other aspects of Bajau culture, including social organization, kinship, religion, fishing, boats, boat-building, art, and music.
Scope and Contents:
The papers of H. Arlo Nimmo document his field research among the Bajau (also known as Sama Dilaut) in Tawi-Tawi Province in the southern Philippines in 1963, 1965-1967, 1977, 1982, and 1997. The collection consists of correspondence, field journals, censuses, genealogies, kinship charts, transcripts of songs, unpublished manuscripts, card files, photographs, sound recordings, and maps. Nimmo's initial research focused on social change, but he collected data about other aspects of Bajau culture, including social organization, kinship, religion, fishing, boats, boat-building, art, and music.

Also in the collection are recordings of his 2001 interviews with Gerard Rixhon, an Oblates of Mary Immaculate priest, stationed in Tawi-Tawi and Jolo from 1953 to 1974. In addition, the collection contains materials regarding the Bajau from Don Hart and Rony Bautista.
Arrangement:
This collection is arranged into 6 series: (1) Correspondence; (2) Research Data; (3) Unpublished Manuscripts; (4) Maps; (5) Photographs; (6) Sound Recordings.
Biographical Note:
Harry Arlo Nimmo is a Professor Emeritus of Anthropology at California State University East Bay at Hayward. He earned his Ph.D. in anthropology from University of Hawaii in 1969. As a graduate student, he conducted six months of field research among the Bajau (also known as Sama Dilaut) of Tawi-Tawi, Philippines in 1963 and another eighteen months in 1965-67. He returned to conduct more field research in Tawi-Tawi in 1977, 1982, and 1997. As a result of civil strife, massive immigration, and economic changes following his field research in the 1960s, the Bajau culture (as studied and documented by Nimmo) no longer exists in Tawi-Tawi. In addition to his master's thesis, Social Organization of the Tawi-Tawi Badjaw (1965), and his dissertation, The Structure of Bajau Society (1969), Nimmo has published extensively on his Bajau research.

Selected Bibliography

1965 -- Social Organization of the Tawi-Tawi Badjaw. Ethnology IV (4): 421- 439.

1966 -- Themes in Badjaw Dreams. Philippine Sociological Review XIV (1): 49-56.

1968 -- The Bajau of Sulu Fiction and Fact. Philippine Studies XVI (4): 771-775. Songs of the Sulu Sea. ETC. XXV (4): 489-494. Reflections on Bajau History. Philippine Studies XVI (1): 32-59.

1970 -- Bajau Sex and Reproduction. Ethnology IX (3): 251-262. Posong, Trickster of Sulu. Western Folklore XXIX (3): 185-191.

1971 -- Bajau: Gentle Boat-Dwellers of the Philippines. Nomads of the World. Washington, D. C.: National Geographic Society.

1972 -- The Bajau of the Philippines. Ethnocentrism Series. HRAFlex Book OA8-001. New Haven: Human Relations Area Files. The Sea People of Sulu. San Francisco: The Chandler Press. You will remember us because we have sung for you. Philippine Studies XX (2): 299-322.

1973 -- A Tribe of Ancient Mariners Comes Ashore. Natural History 82 (10): 334-45.

1975 -- The Shamans of Sulu. Asian and Pacific Quarterly VII (1): 1-9.

1976 -- A Functional Interpretation of Bajau Songs. Directions in Pacific Traditional Literature, edited by Adrienne L. Kaeppler and H. Arlo Nimmo. Honolulu: Bishop Museum Press.

1977 -- The Bajau of Sulu. Filipino Heritage I: 261-265.

1978 -- The Relativity of Sexual Deviance: A Sulu Example. Papers in Anthropology XIX (1): 91-98.

1984 -- Bajau. Muslim Peoples I: 75-80. Edited by Richard V. Weekes. Westport: Greenwood Press.

1986 -- Recent Population Movements in the Sulu Archipelago: Implications to Sama Culture History. Archipel 32: 25-38.

1990 -- The Boats of the Tawi-Tawi Bajau, Sulu Archipelago, Philippines. Asian Perspectives 29 (1): 51-88. Religious Beliefs of the Tawi-Tawi Bajau. Philippine Studies 38(1): 3-17. Religious Rituals of the Tawi-Tawi Bajau. Philippine Studies 38 (2): 166-198.

1994 -- The Songs of Salanda. Seattle: University of Washington Press.

2001 -- Magosaha: An Ethnography of the Tawi-Tawi Sama Dilaut. Quezon City: Ateneo de Manila University Press.

2005 -- Silungan Baltapa. The Voyage to Heaven of a Sama Hero. (Co-authored with Nicole Revel, Alain Martenot, Gèrard Rixhon, Talib Lim Sangogot, and Olivier Tourny.) Paris: Geuthner.

2010 -- The H. Arlo Nimmo and Tarabasa Idji Collection. Voices from Sulu. Edited by Gerard Rixhon. Quezon City: The Ateneo de Manila University Press.

2012 -- A very far place: tales of Tawi-tawi. Quezon City: Ateneo de Manila University Press.
Separated Materials:
8 mm color film (and DVD copy) of Tungkalong shot by Nimmo in 1963 was transferred to the Human Studies Film Archives. See HSFA.2011.02
Provenance:
These papers were donated to the National Anthropological Archives by H. Arlo Nimmo.
Restrictions:
According to the wishes of H. Arlo Nimmo, his correspondence and field notes are restricted until his death.
Rights:
Contact repository for terms of use.
Standard copyright restrictions apply.
Topic:
Sama languages  Search this
Language and languages -- Documentation  Search this
Ethnology -- Philippines  Search this
Music  Search this
Kinship  Search this
Fishing  Search this
Rites and ceremonies  Search this
Genre/Form:
Chants
Stories
Songs
Correspondence
Maps
Sound recordings
Slides (photographs)
Citation:
H. Arlo Nimmo papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2009-17
See more items in:
H. Arlo Nimmo papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw33c3a0819-cfcf-4423-bcbd-2549e31289ee
EDAN-URL:
ead_collection:sova-naa-2009-17
Online Media:

Jacob Lawrence and Gwendolyn Knight papers

Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Bocour, Leonard, 1910-1993  Search this
Dintenfass, Terry, 1920-  Search this
Eichenberg, Fritz, 1901-1990  Search this
Evergood, Philip, 1901-1973  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Extent:
25.35 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Date:
1816
1914-2008
bulk 1973-2001
Summary:
The papers of African American painter and educator Jacob Lawrence and his wife, artist Gwendolyn Knight measure 25.35 linear feet and 0.001 GB date from 1914 to 2008, with one item from 1816 and the bulk of the material dating from 1973 to 2001. The collection includes biographical material; correspondence including condolence letters to Gwendolyn Knight after Jacob Lawrence's death; writings by Jacob Lawrence and others; printed and digital material; photographs; personal business records; artwork; records from the Jacob Lawrence Catalogue Raisonné Project; materials related to the Jacob and Gwendolyn Knight Lawrence Foundation; professional files; and material related to awards and honors received by Jacob Lawrence and Gwendolyn Knight.
Scope and Content Note:
The papers of African American painter and educator Jacob Lawrence and his wife, artist Gwendolyn Knight measure 25.35 linear feet and 0.001 GB and date from 1914 to 2008, with one item from 1816 and the bulk of the material dating from 1973 to 2001. The collection includes biographical material; correspondence including condolence letters to Gwendolyn Knight after Jacob Lawrence's death; writings by Jacob Lawrence and others; printed and digital material; photographs; personal business records; artwork; records from the Jacob Lawrence Catalogue Raisonné Project; materials related to the Jacob and Gwendolyn Knight Lawrence Foundation; professional files; and material related to awards and honors received by Jacob Lawrence and Gwendolyn Knight.

Biographical material includes appointment and address books; education and personal identification certificates and documents; awards, certificates, curriculum vitae, and chronologies; biographical material related to other individuals, including identification documents and memorial programs; and transcripts of interviews with Jacob Lawrence and Gwendolyn Knight.

The correspondence series includes extensive personal and professional correspondence with family, friends, artists, admirers (including students in a number of elementary and middle schools), university students, government agencies, art schools, galleries, museums, publishing houses, and others. Included in this series are condolence letters received by Gwendolyn Knight after Jacob Lawrence's death in 2000.

Writings include published and unpublished writings by and about Jacob Lawrence, as well as writings by others. These writings include speeches, notes, essays, articles, lists, and short stories. Also included is a visitor comment book from the Los Angeles County Museum exhibition of Jacob Lawrence's Harriet Tubman and Frederick Douglass series.

Printed material includes books; brochures; business cards; clippings; exhibition and event announcements, invitations, catalogs, and programs; magazines; newsletters; posters; post cards; and press releases. Books in this collection may include illustrations by Jacob Lawrence or have personal inscriptions from the author to Jacob Lawrence and Gwendolyn Knight.

Photographs include photographs of Jacob Lawrence artwork, photographs and reproductions of Gwendolyn Knight artwork, and photographs of Jacob Lawrence, Gwendolyn Knight, and other individuals. Also included in this series are photographs and reproductions of work by others.

Personal business records include a ledger; consignment, financial, and shipping records related to the Terry Dintenfass Gallery; contracts and agreements; and estate documents.

Artwork includes sketches by Jacob Lawrence, a blank sketchbook inscribed by Jacob Lawrence to Gwendolyn Knight, and artwork by other artists.

Jacob Lawrence Catalogue Raisonné Project Records include materials generated by the Jacob Lawrence Catalogue Raisonné Project, a non-profit created with the goal of producing a catalogue raisonné (and later, a digital archive) of Jacob Lawrence's work. These records include address books and phone logs; copies of Jacob Lawrence's CV; founding documents, bylaws, and meeting minutes; correspondence; writings, including draft pages of the catalogue raisonné; business records, including employment files, contracts, invoices, insurance, and tax information; printed and digital material; and photographs and artwork.

The Jacob and Gwendolyn Knight Lawrence Foundation and Related Material series includes founding documents and foundation bylaws, correspondence, financial documents, reports, and proposals. Found within this series are materials related to the Lawrence Center for the Visual Arts, a subsidiary foundation of the Jacob and Gwendolyn Knight Lawrence Foundation.

Professional files include material related to projects and exhibitions, teaching files and inclusion in curricula, files regarding possible fake Jacob Lawrence works, and gallery files.

The honors series is divided into two subseries: awards and certificates, and government honors. Awards and certificates includes honorary degrees, arts prizes, and any other honors awarded to Jacob Lawrence or Gwendolyn Knight. Government honors include resolutions, proclamations, and keys to cities. Also included in this series are correspondence related to awards and honorary degrees, commencement programs, plaques, and medals.
Arrangement:
The collection is arranged in 11 series.

Missing Title

Series 1: Biographical Material, 1914-2005 (Boxes 1, 11, 26, OV 10; 0.5 linear feet)

Series 2: Correspondence, 1943, 1952-2005 (Boxes 1-5, 12-14, 26; 7.7 linear feet)

Series 3: Writings, 1954-1959, 1973-2005, undated (Boxes 5-6, 14-15; 0.5 linear feet)

Series 4: Printed Material, 1816, 1926, 1937, 1945-2008 (Boxes 6-9, 15-17, 26, OV 30, OV 31; 6.8 linear feet)

Series 5: Photographs, circa 1970-1997, undated (Boxes 9, 17, OV 10; 0.4 linear feet)

Series 6: Personal Business Records, 1962-2005 (Boxes 9, 17; 0.3 linear feet)

Series 7: Artwork, 1984, 1990-1994, undated (Boxes 9, 18, 26; 0.3 linear feet)

Series 8: Jacob Lawrence Catalogue Raisonne Project Records, 1982-2002 (Boxes 18-23, Box 26; 5.1 linear feet, ER01; 0.001 GB)

Series 9: Jacob and Gwendolyn Knight Lawrence Foundation and Related Material, 1997-2005 (Box 23; 0.6 linear feet)

Series 10: Professional Files, 1964-2004 (Boxes 23-24; 1.2 linear feet)

Series 11: Honors, 1948, 1966-2005 (Boxes 24-25, 27-29, OV 30; 2.3 linear feet)
Biographical Note:
Modernist painter and educator Jacob Lawrence (1917-2000) was born in 1917 as Jacob Armstead Lawrence in Atlantic City, New Jersey. He began his art studies at the Utopia Children's Center in New York City's Harlem district where he studied under the painter Charles Alston. Lawrence dropped out of high school at the age of sixteen to continue his art instruction with Alston, this time at the Harlem Art Workshop, where he met several artists associated with the Harlem Renaissance including the sculptor Augusta Savage.

Gwendolyn Knight (1913-2005) was born in Barbados and moved to New York City with her adoptive parents when she was seven. She attended New York's Wadleigh High School and later Howard University in Washington, D.C. where she studied fine arts with Lois Mailou Jones and James Porter. Forced to leave her studies at Howard because of the Depression, Knight returned to Harlem and continued her artistic pursuits in Augusta Savage's workshop. In 1935, Knight joined the Harlem Mural Project of the Works Progress Administration (WPA) working under Selma Day and Charles Alston. Lawrence and Knight met in Savage's workshop and married in the summer of 1941.

During the Depression, Lawrence also joined the WPA Federal Arts Project in Harlem. Finding WPA murals overwhelming, Lawrence concentrated on traditional painting instead. He produced his first major works in the late 1930s, most notably the Toussaint L'Ouverture series, images that document the life of the revolutionary hero and Haiti's struggle for independence. Other significant works include visual narratives of the lives of abolitionists Harriet Tubman and Frederick Douglass. In 1940, Lawrence received the prestigious Julius Rosenwald Fellowship, which made it possible for him to purchase his first art studio on 125th Street in the heart of Harlem. He soon portrayed Harlem street life in paintings that became commentaries on the role of African Americans in United States society with highly developed themes of resistance and social opposition. That same year, Lawrence began his most celebrated series, The Migration of the American Negro, multiple tempera panels depicting the exodus of African American sharecroppers in the south to northern industrial cities in search of better employment and social opportunities. Edith Halpert exhibited the works in their entirety at her Downtown Gallery in 1941, establishing Lawrence as the first African American artist to exhibit in a top New York gallery. The following year, New York's Museum of Modern Art and the Phillips Collection in Washington, DC each bought half of the sixty panels in the series, helping to further Lawrence's career within the larger world of American art.

In the summer of 1946, the artist Joseph Albers invited Lawrence to teach at North Carolina's Black Mountain College. It was the first in a series of teaching positions in prestigious art schools including Pratt Institute (1956-1971), Brandeis University (1965), The New School (1966), the Art Students League (1967), and others. During the 1950s and 1960s, Lawrence's work continued to focus on racism and political activism but in the late 1960s shifted to themes of racial harmony.

Both Lawrence and Knight continued independent careers in art. Knight pursued her art studies at the New School in New York and the Skowhegan School of Painting and Sculpture in Maine. In the mid-1960s, she collaborated with other female artists to form the Studio Gallery in New York City. Knight's main body of work consists of portraits and still-lifes that incorporate expressions of African sculpture, Impressionism, dance, and theater. Focusing on gesture, her art is described as light and airy with a minimum of lines allowing empty space to define the work. In 1970, Lawrence traveled to Seattle to teach as a visiting artist at the University of Washington. He was hired on a permanent basis the following year and remained on staff until his retirement in 1986.

Jacob Lawrence died June 9, 2000, in Seattle, Washington at the age of 83. Gwendolyn Knight continued to paint and exhibit her work around the country until her death on February 18, 2005 in Seattle, Washington at the age of 92.
Related Material:
Also found at the Archives of American Art are an oral history interview with Jacob Lawrence conducted by Carroll Greene (1968 October 26), interviews conducted by Avis Berman (1982 July 20-August 4), and an oral history interview with Jacob Lawrence and Gwendolyn Knight conducted by Paul Karlstrom (1998 November 18). The Archives of American Art also holds a collection of Jacob Lawrence papers, available on microfilm only, reels D286 and 4571-4573. Originals reside at Syracuse University Library, Special Collections.
Provenance:
The Jacob Lawrence and Gwendolyn Knight papers were donated to the Archives of American Art in five accretions between 1979 and 1997. Additional papers were donated in 2012 by the Jacob and Gwendolyn Knight Lawrence Foundation via Barbara Earl Thomas, representative.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Painters -- Washington (State) -- Seattle  Search this
Painters -- New York (State) -- New York  Search this
Educators -- Washington (State) -- Seattle  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
African American artists  Search this
Women artists  Search this
African American art -- African influences  Search this
African American educators  Search this
African American painters  Search this
Women painters  Search this
Genre/Form:
Photographs
Citation:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lawrjaco
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97b5bfd17-13f8-4cb6-ab12-22124f7d1fee
EDAN-URL:
ead_collection:sova-aaa-lawrjaco
Online Media:

Oral history interview with Ron Ho

Interviewee:
Ho, Ron  Search this
Creator:
Herman, Lloyd E.  Search this
Extent:
2 Items (sound files (2 hrs., 5 min.), digital, wav)
38 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 May 9
Scope and Contents:
An interview with Ron Ho conducted 2017 May 9, by Lloyd Herman, for the Archives of American Art, at Ho's home in Seattle, Washington.
Ho discusses his family background in Kowloon and Canton, China; grandparents' immigration to Hawaii, and Maui. Agricultural family business in Hawaii. Family chores, family traditions, cooking; hobbies and schooling. The changing economies and demographics of Hawaii. Learning music and accordion as a child and learning crafts from his music teacher. Attending Pacific Lutheran in Tacoma, KS; majoring in art education; teaching art in Hoquiam, WA and Bellevue, WA. Attending University of Washington to get his masters' degree. Studying painting and printmaking; meeting jeweler Ramona Solberg, and studying with her. Using found objects in jewelry, and creating work which incorporated his heritage. Making work with dominoes, jade, noodles, etc. Solo exhibits at the Henry Art Gallery and the Wing Luke Museum, Honolulu Museum of Art, Bellevue Arts Museum. Teaching middle and elementary school and getting awards for teaching. Receiving arts awards. Teaching workshops at Pratt Fine Arts Center and Homer Alaska. Traveling to England and Europe. Taking workshops in Japan and Taiwan. Public Art projects, including at the Wing Luke Museum. Making jewelry for his grandmothers. Travel to China, India, Afghanistan. Ho also discusses teachers Alden Mason and Fred Anderson; students Lynne Hull, Luly Yang, Laurie Hall, Kiff Slemmons, Jack Stoops, Lloyd Herman, Michael Monroe.
Biographical / Historical:
Ron Ho (1936-2017) was a jewelry artist and arts educator in Seattle, Washington. Lloyd Herman (1936- ) was the Director of the Renwick Gallery in Washington, D.C.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Educators -- Washington (State) -- Seattle -- Interviews  Search this
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.ho17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96360eb14-491e-4d66-926e-4b754a899306
EDAN-URL:
ead_collection:sova-aaa-ho17
Online Media:

Oral history interview with Frank S. Okada

Interviewee:
Okada, Frank S. (Frank Sumio), 1931-2000  Search this
Interviewer:
Johns, Barbara  Search this
Names:
Cornish School of Allied Arts (Seattle, Wash.)  Search this
Cranbrook Academy of Art -- Students  Search this
Northwest Asian American Project  Search this
University of Oregon -- Faculty  Search this
Bunce, Louis, 1907-1983  Search this
Charles, Ray, 1930-2004  Search this
Chin, Frank, 1940-  Search this
Davis, Sammy, 1925-  Search this
Derbyshire, Leon  Search this
Dusanne, Zoe, 1884-1977  Search this
Horiuchi, Paul, 1906-  Search this
Inada, Lawson Fusao  Search this
Ivey, William, 1919-1992  Search this
Jones, Quincy, 1933-  Search this
Kusama, Yayoi, 1929-  Search this
Martin, David Stone  Search this
Nomura, Kenjiro, 1896-1956  Search this
Okada, John  Search this
Peck, James Edward, 1907-  Search this
Shahn, Ben, 1898-1969  Search this
Tobey, Mark  Search this
Tsutakawa, George  Search this
Extent:
87 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1990 Aug. 16-17
Scope and Contents:
An interview of Frank Okada conducted 1990 Aug. 16-17, in Seattle, Wash., by Barbara Johns, for the Archives of American Art Northwest Asian American Project. Okada discusses his parents' background; his family including his brothers, John, author of "No-No Boy," and Charlie, a graphic designer; traveling to Japan for the Pacific Northwest Artists and Japan exhibition; being in an internment camp; painting in Eugene, Ore. and Seattle, Wash.; his painting techniques; studying under Leon Derbyshire; his connection with the jazz scene in Seattle in the late 1940s and 1950s including musicians Sammy Davis, Ray Charles, and Quincy Jones; attending Cornish School of Art, Seattle; meeting Mark Tobey; comparision of his painting style to Tobey's; his stint in the Army; attending Cranbrook Academy of Art and studying with painter Fred Mitchell; his Whitney fellowship in New York; study of Japanese, Chinese, and Zen paintings; working for Boeings in the early 1960s; traveling to France on a Guggenheim; teaching at University of Oregon in Eugene; his minimalist work; influence of Japanese art in his painting. Okada mentions Lawson Inada (Asian American poet), Frank Chin (Asian American playwright), artists David Stone Martin, James Edward Peck, Yayoi Kusama, George Tsutakawa, Paul Horiuchi, Ben Shahn, Kenjiro Nomura, Louis Bunce, Bill Ivey, and art gallery owner Zoe Dusanne.
Biographical / Historical:
Frank S. Okada (1931-2000) was a Japanese American painter based in Seattle, Washington. He taught at University of Oregon from 1969-1999.
General:
Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 38 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- United States  Search this
Painters -- Washington (State) -- Seattle  Search this
Topic:
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Painting, Japanese  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Painting, Chinese  Search this
Asian American painters  Search this
Asian American sculptors  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.okada90
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ff6868c7-38fd-4e50-9323-474b69e03b8e
EDAN-URL:
ead_collection:sova-aaa-okada90
Online Media:

School scene

Artist:
Signed by Sayyid Ali (active 1555-1575)  Search this
Patron:
Shah Tahmasp (1524-1576)  Search this
Medium:
Ink, opaque watercolor and gold on paper
Dimensions:
H x W: 37.2 x 23.9 cm (14 5/8 x 9 7/16 in)
Type:
Manuscript
Origin:
Tabriz, Iran
Date:
ca.1540
Period:
Safavid period
Topic:
Safavid period (1501 - 1722)  Search this
writing  Search this
reading  Search this
mosque  Search this
cooking  Search this
Iran  Search this
Arts of the Islamic World  Search this
school  Search this
student  Search this
Henri Vever collection  Search this
teacher  Search this
muezzin  Search this
punishment  Search this
Credit Line:
Purchase — Smithsonian Unrestricted Trust Funds, Smithsonian Collections Acquisition Program, and Dr. Arthur M. Sackler
Accession Number:
S1986.221
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye3eb080c3d-18e5-4042-8586-7f218570fba0
EDAN-URL:
edanmdm:fsg_S1986.221

James B. Watson papers

Creator:
Watson, Virginia  Search this
Watson, James B. (James Bennett), 1918-2009  Search this
Extent:
52.5 Linear feet (123 boxes)
47 Sound recordings
Type:
Collection descriptions
Archival materials
Sound recordings
Correspondence
Books
Programs
Field notes
Maps
Punched cards
Journals (periodicals)
Grant proposals
Photographs
Articles
Lecture notes
Place:
Papua New Guinea
Brazil
Mato Grosso (Brazil : State)
Papua New Guinea -- Social life and customs
Date:
1904-1998
bulk 1933-1987
Summary:
This collection contains the professional papers of cultural anthropologist James B. Watson, and documents his fieldwork in Papua New Guinea, Brazil, and Del Norte, Co., as well as his teaching career at the University of Washington. Included are field notes, lecture notes, correspondence, maps, photographs, books, articles, journals, grant proposals, surveys, data punch cards, conference materials, and sound recordings.
Scope and Contents:
This collection is comprised of the professional papers of James B. Watson, the bulk of which relate to his research and academic work on the Eastern Highlands of Papua New Guinea. The series are Research, Writings, Correspondence, Professional Activities, University Files, Biographical Files, Maps, Photographs, and Sound Recordings.

The Research series contains Watson's research on Hopi food classification systems in Arizona, Cayua acculturation in Brazil, social stratification between English-speaking and Spanish-speaking residents of Del Norte, Co., numerous research projects in Papua New Guinea, and gift exchange theories.

The Arizona, Hopi Food Classification Systems subseries consists of his research among the Hopi in Arizona, primarily on their food classication systems. Included are field notes and reports.

The Mato Grosso, Brazil and Cayua Acculturation subseries consists of research materials conducted while Watson was working as an assistant professor in Sao Paulo. Included are field notes, bibliographies, a journal, and a language notebook primarily regarding his research on culture change among the Cayua.

The Del Norte, Colorado Surveys subseries contains material related to research conducted in the summers of 1949 and 1950 as part of a study on social stratification between English-speaking and Spanish-speaking residents of Del Norte. Included are datasets from several community surveys on education, occupations, business, and cultural attitudes, along with research notes and background materials.

The Papua New Guinea subseries consists of research materials on the Eastern Highlands of Papua New Guinea. Included are field notes, language materials, bibliographies, grant documents and research proposals, genealogy data, long reports and patrol reports, data punch cards, and TAT (thematic apperception test) protocols. There is material from several research projects including the Committee on New Guinea Studies (CONGS), the Kainantu Blood Group Study, and the New Guinea Religions Project. Watson's wife, Virginia Drew Watson, also has research material in this series. Language documentation include lexicons and notes about Agarabi, Auyana, Awa, Tairora, Gadsup, and Tok Pisin.

The subsubseries Micro-evolution Studies Project (MES) consists of related Papua New Guinea research as part of this multi-year project. Material included is correspondence, financial documents, memorandums and planning documents, grant proposals, language files, and work papers.

The Gift Exchange Theories subseries consists of Watson's research on gift exchange theories, primarily as they relate to small autonomous peoples. The material consists of research notes, paper ideas, bibliographies, and grant applications.

The Other Research subseries consists of papers and research that are not easily catagorized. Included are subject files on perception, notes and critiques of Marshal Sahlins's Stone Age Economics, and a research project by Watson studying innovation in high school social studies curriculum.

The Writings series primarily consists of journal articles produced over the duration of his career. Included are research notes, drafts, and some correspondence. A print copy is included where possible. There is significant material related to his book Tairora Culture, including chapter drafts, outlines, and reader comments. The writings by others are primarily annotated copies of articles, rare and small print-run items, or manuscripts by others sent to Watson for comment.

The Correspondence series contains professional and personal correspondence with Watson's colleagues and contemporaries in the field, including J. David Cole, Terence Hays, Paula Brown-Glick, Richard Lieban, Howard P. McKaughan, Harold Nelson, Kerry Pataki-Schweizer, Kenneth E. Read, Sterling Robbins, and Roy Wagner. Topics include his academic career, student dissertations, research grants and fellowships, and research related to Papua New Guinea, and in particular the Micro-evolution Studies project.

The Professional Activities series primarily consists of conference notes, papers, presentations, and symposium documents. Included are materials for the American Anthropological Association, the Association for Social Anthropology in Oceania, the Pacific Sciences Conference, as well as symposiums held at the East-West Center in Honolulu, Hawaii. Some of the files are related to specific symposiums Watson attended or helped to organize, the bulk of which are related to Papua New Guinea. Also included are Watson's lecture notes, and materials related to the United Nations West Irian Development Plan

The University Files series contains material related to Watson's academic career. The bulk of the files are course materials from the classes he taught at the Univesity of Washington, which include lecture notes, syllabi, exams, and student papers. Other materials includes student dissertation files and some of Watson's course work from the University of Chicago.

The Biographical Files series includes numerous editions of his curriculum vitae and bibliographies.

The Maps series contains maps used in Watson's research, which includes Brazil; Del Norte, Co.; and Papua New Guinea. The bulk are maps of Papua New Guinea, and include published maps, annotated maps, hand-drawn maps, patrol reports, and linguistic maps.

The Photographs series contains photographs of Watson's fieldwork and professional career. The bulk of his fieldwork photographs are from Del Norte, Co. and Papua New Guinea. The Del Norte photographs include aerial images along with photographs of residents, houses, and cultural activities. The photographs from Papua New Guinea include images of a taro garden, a woman before and at her marriage ceremony, and images of tools found at an excavation site near the Wahgi Valley.

The sound recordings contain seven identified recordings made in the Papua New Guinea Eastern Highlands, Kainantu District during James and Virginia Watson's first trip, 1954-1955. Also included are 31 recordings of lectures and classes by James Watson and others, two recordings of popular music, and six reels recorded at the Pacific Science Congress in Tokyo in 1966. The remaining 23 uncataloged recordings are unidentified or partially identified.

Please see individual series descriptions in the finding aid for additional information.
Arrangement note:
This collection is arranged in 9 series:

Series1: Research, 1933-1993

Series 2: Writings, 1904-1995

Series 3: Correspondence, 1933-1994

Series 4: Professional Activities, 1944-1998

Series 5: University Files, 1939-1991

Series 6: Biographical Files, 1941-1991

Series 7: Maps, circa 1920s-1970

Series 8: Photographs, circa 1942-1977

Series 9: Sound Recordings, 1954-1984
Biographical/Historical note:
James B. Watson (1918-2009) was a cultural anthropologist and university professor. He is primarily known for his ethnographic studies of the Eastern Highlands of Papua New Guinea, with a concentration on acculturation. He taught at the University of Washington, was the prinicipal investigator for the Micro-evolution Studies project (MES), and the author of numerous journal articles and books.

Watson was born in Chicago, Ill., and raised in Bangor, Maine. He studied anthropology at the University of Chicago, earning his B.A. in 1941; his M.A. in 1945; and his Ph.D. in 1948. Fred Eggan acted as his advisor while he was pursuing his doctorate. He began his teaching career as an assistant professor at the Escala Livre de Sociologia e Politica, Sao Paulo (1944-1945); Beloit College (1945-1946); University of Oklahoma (1946-1947); and as an associate professor at Washington University in St. Louis (1947-1955). He then became a full professor of anthropology at the University of Washington (1955-1987), where he spent the majority of his career.

His ethnographic research began with his fieldwork among the Hopi in Arizona in 1942. He researched Hopi food classification systems, which would become the subject of his master's thesis. Watson would next study the effects of acculturation among the Cayua people in Mato Grosso, Brazil in 1943-1945. This research would become the basis of his dissertation, later to be published as Cayua Culture Change: A Study in Acculturation and Methodology. His wife, anthropologist Virginia Drew Watson, accompanied him and conducted her own research. While at Washington University, he directed fieldwork in the summers of 1949 and 1950 in Del Norte, Co., conducting several community surveys on education, occupations, business, and cultural attitudes. These surveys were part of a larger study on social stratification between English-speaking and Spanish-speaking residents of Del Norte.

Watson is most noted for his work in the Papua New Guinea Highlands, where he was one of the first generation of Highland ethnographers. Along with Virginia Drew Watson, he studied the Kainantu peoples of the Eastern Highlands including the Tairora, the Gadsup, the Auyana, and the Awa. He was involved in several research projects, including the Committee on New Guinea Studies (CONGS), The Kainantu Blood Group Study, and the New Guinea Religions Project.

He was also the principal investigator for the Micro-evolution Studies project (1959-1968) where he directed a team of researchers examining the interconnections of the Kainantu peoples from the perspectives of ethnography, linguistics, archaeology, and physical anthropology. Other MES researchers include Kenneth E. Read, Robert A. Littlewood, Howard McKaughan, Kerry J. Pataki-Schweizer, and Sterling Robbins. This research on Papua New Guinea is best described in his book Tairora Culture: Contingency and Pragmatism (1983).

He was professionally active, attending and organizing sessions at annual meetings for the American Anthropological Association (AAA) and the Association for Social Anthropology in Oceania (ASAO). He also organized symposiums at the East-West Center in Honolulu, Hawaii. Additionally, he served as a consultant to the United Nations on their West Irian Development Plan in 1967. Watson retired from teaching in 1987, but continued to publish and remain involved in AAA and ASAO. He died in 2009.

Sources Consulted: 1999 Westermark, George. ASAO Honorary Fellow: James B. Watson. Association for Social Anthropology in Oceania Newsletter 104: 21

Chronology

1918 -- Born on August 10 in Chicago, Illinois

1941 -- B.A. in anthropology, University of Chicago Lecturer, University of Chicago

1941-1942 -- Fieldwork: Hopi

1943 -- Married Virgina Drew Fieldwork: Mato Grosso, Brazil

1943-1945 -- Fieldwork: Brazil

1944-1945 -- Assistant Professor, Escala Livre de Sociologia e Politica, Sao Paulo, Brazil

1945 -- M.A. in anthropology, University of Chicago

1945-1946 -- Assistant Professor, Beloit College

1946-1947 -- Assistant Professor, University of Oklahoma

1947-1955 -- Associate Professor, Washington University in St. Louis

1948 -- Ph.D. in anthropology, University of Chicago

1949-1950 -- Director, Washington University summer field project

1949-1950 -- Fieldwork: Del Norte, Colorado

1953-1955 -- Fieldwork: Eastern Highlands, Papua New Guinea

1955-1987 -- Professor of Anthropology, University of Washington

1959 -- Fieldwork: Papua New Guinea and Netherlands New Guinea

1959-1968 -- Principal Investigator, New Guinea Micro-evolution Studies Project

1963-1964 -- Fieldwork: Eastern Highlands, Papua New Guinea

1966-1967 -- Senior Specialist, Institute of Advanced Projects, East-West Center

1967 -- Consultant for United Nations Development Programme, West Irian

1967 -- Fieldwork: West Irian (Indonesia)

1987 -- Retired from teaching at University of Washington

2009 -- Died on November 12
Related Materials:
The National Anthropological Archives also holds the papers of Virginia D. Watson.

Mandeville Special Collections Library, UCSD holds the Micro-evolution Project Papers, MSS 436.
Provenance:
These papers were donated to the National Anthropological Archives by James Watson's daughter, Anne Watson, in 2003.
Restrictions:
Some research proposals not authored by Watson are restricted until 2083.
Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation  Search this
Ethnology -- Brazil  Search this
Ethnology -- Papua New Guinea  Search this
Genre/Form:
Sound recordings
Correspondence
Books
Programs
Field notes
Maps
Punched cards
Journals (periodicals)
Grant Proposals
Photographs
Articles
Lecture notes
Citation:
James B. Watson papers, National Anthropological Archives, Smithsonian Institution.
Identifier:
NAA.2003-15
See more items in:
James B. Watson papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw38438ad62-76b4-45df-a007-4c924a4af960
EDAN-URL:
ead_collection:sova-naa-2003-15

Faculty Council on Student Affairs

Collection Creator:
Watson, Virginia  Search this
Watson, James B. (James Bennett), 1918-2009  Search this
Container:
Box 99
Type:
Archival materials
Text
Date:
1976
Collection Restrictions:
Some research proposals not authored by Watson are restricted until 2083.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
James B. Watson papers, National Anthropological Archives, Smithsonian Institution.
See more items in:
James B. Watson papers
James B. Watson papers / Series 5: University Files / 5.4: University of Washington
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3a9cc0fa8-d224-4d77-9969-73ce92873be6
EDAN-URL:
ead_component:sova-naa-2003-15-ref642

Student dissertations and theses

Collection Creator:
Watson, Virginia  Search this
Watson, James B. (James Bennett), 1918-2009  Search this
Extent:
7 Folders
Container:
Box 99-100
Type:
Archival materials
Text
Date:
1965
1965-1987
Collection Restrictions:
Some research proposals not authored by Watson are restricted until 2083.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
James B. Watson papers, National Anthropological Archives, Smithsonian Institution.
See more items in:
James B. Watson papers
James B. Watson papers / Series 5: University Files / 5.4: University of Washington
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3bab4fb97-9c6b-454d-a4de-5d23861dc50c
EDAN-URL:
ead_component:sova-naa-2003-15-ref648

Student papers

Collection Creator:
Watson, Virginia  Search this
Watson, James B. (James Bennett), 1918-2009  Search this
Extent:
2 Folders
Container:
Box 100-101
Type:
Archival materials
Text
Date:
circa 1950s-circa 1970s
Collection Restrictions:
Some research proposals not authored by Watson are restricted until 2083.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
James B. Watson papers, National Anthropological Archives, Smithsonian Institution.
See more items in:
James B. Watson papers
James B. Watson papers / Series 5: University Files / 5.4: University of Washington
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw386726a2b-1d79-486f-a9a5-efe5e60b808b
EDAN-URL:
ead_component:sova-naa-2003-15-ref649

University Files

Collection Creator:
Watson, Virginia  Search this
Watson, James B. (James Bennett), 1918-2009  Search this
Extent:
4.17 Linear feet
Type:
Archival materials
Date:
1939-1991
Scope and Contents:
This series contains material related to Watson's academic career. The bulk of the files are course materials from the classes he taught at the University of Washington, which include lecture notes, syllabi, exams, and student papers. Other materials includes student dissertation files and some of Watson's course work from the University of Chicago.
Collection Restrictions:
Some research proposals not authored by Watson are restricted until 2083.
Collection Rights:
Contact the repository for terms of use.
Collection Citation:
James B. Watson papers, National Anthropological Archives, Smithsonian Institution.
Identifier:
NAA.2003-15, Series 5
See more items in:
James B. Watson papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3245b8bc8-c002-41af-9435-851a59b4b3dd
EDAN-URL:
ead_component:sova-naa-2003-15-ref9

Oral history interview with Ramona Solberg

Interviewee:
Solberg, Ramona  Search this
Interviewer:
Halper, Vicki  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
American Craft Council  Search this
Bellevue Art Museum (Wash.)  Search this
Central Washington State College -- Faculty  Search this
Edison Vocational School -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Washington -- Students  Search this
Day, Russell  Search this
Hall, Laurie  Search this
Harrington, LaMar, 1917-2005  Search this
Ho, Ron  Search this
Hu, Mary Lee, 1943-  Search this
Larsen, Jack Lenor  Search this
Lipofsky, Marvin, 1938-2016  Search this
Maloof, Frieda  Search this
Maloof, Sam  Search this
Marshall, John, 1936-  Search this
Pence, Coralyn  Search this
Penington, Ruth, b. 1905  Search this
Slemmons, Kiff  Search this
Tompkins, Don  Search this
Woell, J. Fred, 1934-  Search this
Worden, Nancy  Search this
Extent:
35 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 23
Scope and Contents:
An interview of Ramona Solberg conducted 2001 March 23, by Vicki Halper, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Solberg's apartment, Seattle, Washington.
Solberg speaks of her family background and childhood in Seattle; her jewelry studies with Ruth Pennington at the University of Washington in Seattle and her use of found objects; her service in the Unites States Army; attending the Edison Vocational School on the GI Bill and pursuing a masters degree in jewelry at the University of Washington; studies with Coralyn Pence; her travels to Mexico and her fascination with pre-Columbian objects; enameling in Norway; collecting beads from around the world; her book, "Inventive Jewelry-Making" (New York: Van Nostrand Reinhold, 1972); leading tours for a Seattle-based group, "Friends of the Crafts," to the Middle East, Asia, Antarctica, and elsewhere for 16 or 17 years; teaching at Central Washington State College and creating her first bead and found object pieces there in 1956; her fondness for turquoise, lapis, and coral; inviting Don Tompkins to teach at Central Washington State College; Tompkins's "tongue-in-cheek" use of metals; her desire to make jewelry that can "shake, rattle, and roll"; teaching and workshops; her use of preliminary sketches; her soldering technique; fasteners; the weight of her jewelry; the "restraints of jewelry"; her lack of interest in making matched sets and bracelets and rings; the lack of social commentary in her work; her series of pieces inspired by the book, "Watership Down;" the influence of Fred Woell and his use of "American throw-aways"; her involvement with the Northwest region of the American Craft Council; her association with a group of jewelers in the Northwest including Ron Ho, Laurie Hall, Nancy Worden, and Kiff Slemmons; making beaded fibulas; curating exhibitions such as Ubiquitous Bead (1987) and Ubiquitous Bead II (1998) at the Bellevue Art Museum in Seattle; exhibitions at Facèré Jewelry Art Gallery in Seattle and the Henry Art Gallery at the University of Washington in Seattle; working in small spaces; getting into the exhibition Objects: USA "through the back door"; her status as an international artist; pricing her work; her pieces in museum collections; and her health. She recalls Russell Day, Jack Lenor Larsen, Sam and Frieda Maloof, John Marshall, Marvin Lipofsky, LaMar Harrington, Mary Lee Hu, and others.
Biographical / Historical:
Ramona Solberg (1921-2005) was a jeweler from Seattle, Washington. Vicki Halper is a curator at the Seattle Art Museum.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 13 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Art -- Technique  Search this
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.solber01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b1828bbb-30f3-403c-9455-424d2bde6e1a
EDAN-URL:
ead_collection:sova-aaa-solber01
Online Media:

Oral history interview with Mary Lee Hu

Interviewee:
Hu, Mary Lee, 1943-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
American Craft Council  Search this
Cleveland Institute of Art -- Students  Search this
Cranbrook Academy of Art -- Students  Search this
Lawrence Arts Center  Search this
Miami University (Oxford, Ohio) -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Society of North American Goldsmiths  Search this
Southern Illinois University at Carbondale -- Students  Search this
University of Washington -- Faculty  Search this
Baldridge, Mark S., 1946-  Search this
Choo, Chunghi  Search this
Christensen, Hans, 1924-1983  Search this
Dingeldein, Otto  Search this
Eikerman, Alma  Search this
Farafol, Daphne  Search this
Fenster, Fred, 1934-  Search this
Fike, Phillip G., 1927-1997  Search this
Halper, Vicki  Search this
Ho, Ron  Search this
Kidman, Hero  Search this
Kington, L. Brent (Louis Brent), 1934-2013  Search this
Marshall, John, 1936-  Search this
Matsukata, Miye, 1922-1981  Search this
Matzdorf, Kurt  Search this
McMurray, James  Search this
Moty, Eleanor  Search this
Noffke, Gary  Search this
Pujol, Eleanor  Search this
Seppä, Heikki  Search this
Turner, Gary  Search this
Warashina, Patti, 1940-  Search this
Extent:
8 Items (Sound recording: 8 wav files (5 hr., 42 min.), digital)
163 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Place:
Afghanistan -- Description and Travel
Australia -- Description and Travel
China -- Description and Travel
Indonesia -- Description and Travel
Iran -- Description and Travel
Nepal -- Description and Travel
Ohio -- Description and Travel
Papua New Guinea -- Description and Travel
Tibet (China) -- Description and Travel
Turkey -- description and travel
Date:
2009 March 18-19
Scope and Contents:
An interview of Mary Lee Hu conducted 2009 March 18-19, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Hu's home and studio, in Seattle, Washington.
Hu speaks of growing up outside Cleveland, Ohio; her early interest in making objects; attending the Lawrence Art Center camp in Kansas at the age of 16 where she first experimented with metals; her like of working with tools in order to create something; taking metal smith classes at the Cleveland Institute of Art during high school; attending Miami University in Ohio for two years followed by two years an Cranbrook Academy of Art; working as a TA with L. Brent Kington at Southern Illinois University in Carbondale; her collaborative work in both textiles and metals while at Carbondale which lead to her first experimentation in weaving silver wire; creating a body of work for her Master's thesis in which all the pieces were woven wire; various works, their origins, when, where and why they were created, including her Neckpiece, Choker, Bracelet, Brooch and Ring series; her aesthetic interest in patterns, line and positive/negative space; a limited interest in and use of color in her work; the transition from silver to gold wire; a progressively larger interest in the history of jewelry and body adornment which eventually became a lecture at the University of Washington, where she taught for 26 years; numerous trips around the world to countries such as China, Tibet, Nepal, Afghanistan, Iran, Turkey, Australia, Papua New Guinea and Indonesia; a strong interest in ethnic and native jewelry/body adornment practices; the various purposes which jewelry can serve in society; her involvement with the Society of North American Goldsmiths and the American Craft Council; her technique based teaching practices; the role that modern technology plays in teaching, learning, and making jewelry; the lack of support and funds for metals programs in universities around the country; her library, which includes aver 2,000 books about the history of jewelry and body adornment; her collection of jewelry from around the world; her want to create beautiful and functional jewelry; the public and private aspects to jewelry and it's role in museums; current projects and the importance to maintain interest of metals in younger generations. Hu also recalls Gary Turner, Hans Christensen, Otto Dingeldein, Heikki Seppä, Hero Kielman, Phil Fike, Patti Warashina, Gary Noffke, Elliott Pujol, Chonghi Choo, Daphne Farafo, Vicki Halper, Ron Ho, Miye Matsukata, Alma Eikermann, Mark Baldridge, Kurt Matzdorf, Eleanor Moty, Fred Fenster, John Marshall, James McMurray, and others.
Biographical / Historical:
Mary Lee Hu (1943- ) is a metalsmith in Seattle, Washington. Smith was educated at Cranbrook Academy of Art and Southern Illinois University. She teaches at the University of Washington.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 5 hr., 43 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Metal-workers -- Washington (State) -- Seattle  Search this
Educators -- Washington (State) -- Seattle  Search this
Topic:
Body adornment  Search this
Women artists  Search this
Women educators  Search this
Jewelry making  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hu09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a23bb6bc-66a5-4900-9a0f-031b4e2ab83d
EDAN-URL:
ead_collection:sova-aaa-hu09
Online Media:

Oral history interview with Jack Lenor Larsen

Interviewee:
Larsen, Jack Lenor  Search this
Interviewer:
Fisch, Arline M.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Washington -- Students  Search this
Adamson, Glenn  Search this
Rossbach, Ed  Search this
Extent:
78 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2004 February 6-8
Scope and Contents:
An interview of Jack Lenor Larsen conducted 2004 February 6-8, by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Longhouse, East Hampton, N.Y.
Larsen speaks of his childhood in Seattle, Washington; his parents and other adults who had a positive impact on his development; building things with his friends; attending the University of Washington to study architecture and deciding to study textiles instead; visiting Dorothy Liebes's textile studio; leaving school and moving to Los Angeles; attending the University of Southern California and eventually returning to the University of Washington; becoming a teaching assistant to Ed Rossbach; getting a Masters degree at Cranbrook Academy of Art; meeting many influential people in San Francisco and New York; moving to New York and setting up a studio; working on commission for several companies including Thaibok; expanding his offices to include larger looms and a showroom; setting up a branch of production in Haiti; working in the fashion industry and designing home decor; and working in Southeast Asia developing handcrafted woven exports. He also speaks of his involvement with the American Craft Council and the World Crafts Council, re-organizing and building the new campus at the Haystack Mountain School of Crafts; traveling to Central Asia, Africa, Europe, and his desire to travel more; working and exhibiting in Japan; experiencing the Japanese textile industry; writing numerous books on fiber arts including, "The Dyer's Art," often collaborating with other fiber artists; developing a classification system for interlacing; collecting art; gardening and its relation to art and design; building Round House and the inspiration behind it; building LongHouse using the Japanese Ise Shrine as a model and plans for further expansion; retiring and difficulties writing, "A Weaver's Memoir." Larsen also recalls Dorothy Liebes, Marianne Strengell, Florence Knoll, Edgar Kaufman, Ed Rossbach, Toshiko Takaezu, Francis Merritt, Mary Bishop, Garth Clark, Issey Miyake, Mildred Constantine, and others.
Biographical / Historical:
Jack Lenor Larsen (1927-2020) was a weaver and textile designer from East Hampton, N.Y. Arline M. Fisch (1931- ) is a jeweler from San Diego, Cailfornia.
General:
Originally recorded on 7 sound discs and 1 sound cassette. Reformatted in 2010 as 19 digital wav files. Duration is 6 hrs., 23 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Textile designers -- New York (State) -- New York  Search this
Topic:
Textile crafts  Search this
Textile industry -- Japan  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.larsen04
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98c0a4574-4f94-4ed0-87e7-4413a53ec3c1
EDAN-URL:
ead_collection:sova-aaa-larsen04
Online Media:

William C. Sturtevant papers

Topic:
Handbook of North American Indians
Creator:
Sturtevant, William C.  Search this
Names:
National Museum of Natural History (U.S.)  Search this
Six Nations  Search this
Extent:
220 Linear feet (The total extent of the collection is 191.41 linear feet (consisting of 473 document boxes and 2 record boxes) plus 254 sound recordings, 94 computer disks, 42 card file boxes, 85 oversize folders, 9 rolled items, 18 binder boxes, and 3 oversize boxes. Of the total extent, 4.79 linear feet (14 boxes) are restricted.)
Culture:
Indians of North America -- Southeast  Search this
Indians of North America  Search this
Iroquois  Search this
Seminole  Search this
Type:
Collection descriptions
Archival materials
Realia
Research
Notes
Office files
Theses
Slides (photographs)
Sound recordings
Exhibition catalogs
Field notes
Clippings
Correspondence
Photographs
Microfilms
Newsletters
Manuscripts
Memorandums
Articles
Card files
Books
Artifacts
Negatives
Date:
1952-2007
Summary:
This collection contains the professional papers of William Curtis Sturtevant and documents his activities as Curator of North American Ethnology at the National Museum of Natural History, his work as the editor-in-chief of the Handbook of North American Indians, his research among the Seminole and Iroquois people, and other professional activities. The collection is comprised of books, sound recordings, research and field notes, realia, artifacts, clippings, microfilm, negatives, slides, photographs, manuscripts, correspondence, memorandums, card files, exhibition catalogs, articles, and bibliographies.
Scope and Contents:
This collection contains the professional papers of William Curtis Sturtevant and documents his activities as Curator of North American Ethnology at the Smithsonian Institution's National Museum of Natural History, his work as the editor-in-chief of the Handbook of North American Indians, his research among the Seminole and Iroquois people, and his involvement in various professional activities. The collection is comprised of research and field notes, sound recordings, realia, clippings, negatives, slides, prints, published and unpublished writings, correspondence, memorandums, conference papers and meeting notes, card files, exhibition catalogs, articles, bibliographies, student files such as class notes and papers from Sturtevant's years as an anthropology student, teaching materials including lecture notes and exams, daily planners, passports, military records, artwork including prints and lithographs, maps, and computer files.

The materials in this collection document Sturtevant's career as a preeminent North American ethnologist, museum curator, university professor, his role as General Editor of the Handbook of North American Indians, and his contributions to the field of Anthropology. From his early work with the Seminole Indians of Florida to his forays into Burma, and his decades-long study of how Native Americans have been depicted in artistic and popular culture, Sturtevant's diverse intellectual interests are represented in his research files. A copious note taker, Sturtevant captured his observations and opinions of everything from meetings with colleagues to museum exhibits. Sturtevant's commitment to the anthropological profession can be found in the notes and programs of the many conferences, symposiums, and lecture series he attended and at which he presented. He also held numerous leadership positions in various professional associations and sat on the board of directors/trustees for several cultural organizations including Survival International and the Museum of the American Indian-Heye Foundation. Sturtevant was respected for his vast knowledge of indigenous peoples and he received a voluminous amount of correspondence from colleagues who often included copies of their papers and grant proposals. He kept many of these works, which, it appears he used as reference material. Sturtevant's own work is reflected in his writings; he published over 200 scholarly papers, articles, and books.

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 National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
This collection is organized in 14 series: 1. Correspondence, 1951-2008; 2. Research Files, 1851, 1860s, 1880s, 1890, 1939-2006; 3. Writings, 1952-2006; 4. Professional Activities, 1952-2006; 5. Smithsonian, 1954-2008; 6. Handbook of North American Indians, 1971-2007; 7. Biographical Files, 1933-2007; 8. Student Files, 1944-1985; 9. Subject Files, 1902-2002; 10. Photographs, 1927-2004; 11. Artwork, 1699-1998; 12. Maps, 1949-1975; 13. Sound Recordings, 1950-2000; 14. Computer Files, 1987-2006.
Biographical/Historical note:
William C. Sturtevant (1926-2007), preeminent North American ethnologist, museum curator, and university professor, was best known for his contributions to Seminole ethnology, as curator of North American Ethnology in the Department of Anthropology at the Smithsonian Institution's National Museum of Natural History, and for his work as the general editor of the Handbook of North American Indians.

Sturtevant's passion for studying Native peoples began at a young age. In third grade "after a class on American Indians, he asked his father what kind of people study Indians, and his father replied, 'Anthropologists.' Sturtevant decided then that he would make anthropology his career" (Merrill 11). After graduating with honors from the University of California at Berkeley in 1949, Sturtevant went on to Yale University to complete his graduate work in anthropology. When it came time to decide on what area of North America he should focus his research, one of his faculty members at Yale, Irving Rouse, "suggested he consider the Seminoles of south Florida. By the end of his first fieldwork season, Sturtevant was convinced that the dearth of ethnographic information about these Seminoles and their status as one of the least acculturated of all North American Indian societies justified ethnographic research among them and offered the possibility of making an important contribution to North American ethnology" (Merrill 13). Sturtevant spent the summers of 1950 and 1951 conducting preliminary fieldwork among the Mikasuki-speaking Seminole and in 1952 he took up temporary residence at Big Cypress Reservation to undertake research for his dissertation, "The Mikasuki Seminole: Medical Beliefs and Practices." This work focused on Seminole medicine, but also included Sturtevant's analysis of Seminole worldview, religion, history, inter-ethnic relations, material culture, economy, kinship, language, and social organization.

In 1954, while he was finishing his dissertation, Sturtevant made the transition from student of anthropology to professional anthropologist. He was hired as an instructor in Yale's Anthropology Department and began his career in museum work as an assistant curator of anthropology at the Yale Peabody Museum. After receiving his PhD from Yale in 1955, Sturtevant moved on to the Smithsonian Institution, where he accepted a position as a research anthropologist at the Bureau of American Ethnology (BAE). This position afforded Sturtevant the chance to continue to explore his many research interests in ways that a full time professorship or museum curatorship could not. Over the next ten years he studied the Catawba in South Carolina; the Seneca and Cayuga nations of the Iroquois League in New York, Oklahoma, and Ontario; continued his work with the Seminole; visited European museums to examine early ethnographic examples and possible European prototypes of eastern North American Indian material culture; and spent a year in Burma. In 1963, Sturtevant and his wife, Theda Maw, the daughter of a prominent Burmese family, took their three young children to Burma so that they could visit with Maw's family. Sturtevant took this as an opportunity to branch out from his Native American research and spent the year visiting neighborhoods in Rangoon and villages in the surrounding countryside, examining archival materials, studying the Burmese language, learning about Burmese clothing and other aspects of the culture, and taking photographs. He also collected 386 items of clothing and other objects for the Smithsonian.

When Sturtevant returned from Burma, he found the BAE had been dissolved. In 1965, he was transferred from the now-defunct BAE to the Department of Anthropology at the National Museum of Natural History (NMNH), where he became curator of North American Ethnology, a position he held for the next forty-two years. During his tenure at NMNH Sturtevant oversaw all the North American ethnology collections, planned exhibitions, served on committees, and sponsored interns and fellows. One of Sturtevant's primary duties at NMNH was serving as the General Editor of the Handbook of North American Indians, "a major multi-volume reference work summarizing anthropological, linguistic, and historical knowledge about native peoples north of Mexico" (Jackson). Each volume was designed to represent a geographic or topical area of Americanist study. As General Editor, Sturtevant selected volume editors, chapter authors, oversaw office staff, and proofread manuscripts over the course of production.

Besides focusing on the Handbook, much of Sturtevant's time was taken up by responsibilities he held outside the Institution. Sturtevant was extremely involved in professional anthropological associations and held many leadership positions. Fresh out of graduate school, he began a three-year term on the Board of Governors of the Anthropological Society of Washington in 1957. He later became a member of the executive committee of the Florida Anthropological Society, served as book-review editor and associate editor of the American Anthropologist from 1962-1968, was a member of the American Anthropological Association's Committee on Anthropological Research in Museums and was both vice president and president of the committee once it became the Council for Museum Anthropology, was on the American Anthropological Association's Committee on Archives, served three terms on the Board of Trustees of the Museum of the American Indian-Heye Foundation from 1976-1982 and was appointed to a fourth term between 1984 and 1986, and sat on the Board of Directors of Survival International from 1982-1988. He was President of the American Society for Ethnohistory, the American Ethnological Society, the American Anthropological Association, and the Anthropological Society of Washington. Sturtevant also taught classes at Johns Hopkins University as an adjunct professor in the Department of Anthropology, served as a consultant on exhibits at other museums, and reviewed manuscripts for scholarly publications.

Sturtevant remained active in the profession throughout his later years. After divorcing Theda Maw in 1986, he married Sally McLendon, a fellow anthropologist, in 1990 and they undertook several research projects together. Sturtevant was recognized for his dedication and contributions to the field of anthropology in 1996 when he was awarded an honorary doctorate in humane letters by Brown University, and in 2002 when his colleagues published a festschrift in his honor, Anthropology, History, and American Indians: Essays in Honor of William Curtis Sturtevant.

Sturtevant died on March 2, 2007 at the Collingswood Nursing and Rehabilitation Center in Rockville, MD after suffering from emphysema.

Sources Consulted

Estrada, Louie. 2007. William C. Sturtevant; Expert on Indians. Washington Post, March 17. http://www.washingtonpost.com/wp-dyn/content/article/2007/03/16/AR2007031602273.html, accessed August 31, 2012.

Jackson, Jason Baird. 2007. William C. Sturtevant (1926-2007). http://museumanthropology.blogspot.com/2007/03/william-c-sturtevant-1926-2007.html, accessed August 31, 2012.

Merrill, William L. 2002. William Curtis Sturtevant, Anthropologist. In Anthropology, History, and American Indians: Essays in Honor of William Curtis Sturtevant. William L. Merrill and Ives Goddard, eds. Pp. 11-36. Washington D.C.: Smithsonian Institution Press.

1926 -- Born July 26 in Morristown, NJ

1944 -- Entered the University of California at Berkeley as a second-semester freshman

1944 -- Attended summer school at the Universidad Nacional Autonoma de Mexico in Mexico City where he took courses on Mexican archaeology and South American ethnology

1945 -- Drafted into the United States Navy

1946 -- Received an honorable discharge from the Navy with the rank of pharmacist's mate third class and returned to UC Berkeley

1947 -- Attended the University of New Mexico's summer field school in Chaco Canyon, New Mexico

1949 -- January: Received his Bachelor's degree with honors in anthropology from UC Berkeley

1949 -- Began graduate studies at Yale University

1950-1951 -- Spent the summers of 1950 and 1951 in Florida conducting fieldwork among the Mikasuki-speaking Seminole

1951 -- Conducted his first research study of the Iroquois, a classification of Seneca musical instruments, their construction and use, with Harold Conklin

1952 -- May: Moved to Big Cypress Reservation in Florida to conduct research for his dissertation. He focused on Seminole medicine, but also collected physical anthropological data such as blood-type frequencies, handedness, and color blindness

1952 -- July 26: Married Theda Maw

1954 -- Hired by Yale University as an instructor in the Department of Anthropology and as an assistant curator of anthropology in the Yale Peabody Museum

1955 -- Received PhD in anthropology from Yale University

1956 -- Joined the staff of the Smithsonian Institution's Bureau of American Ethnology (BAE) as a research anthropologist

1957 -- Began a three-year term on the Board of Governors of the Anthropological Society of Washington

1957 -- Traveled to Rock Hill, South Carolina to collect linguistic data from Sam Blue, the last member of the Catawba tribe to have maintained some proficiency in the Catawba language. While there, he made a small collection of Catawba pottery for the United States National Museum

1957-1958 -- Spent seven weeks continuing his research among the New York Seneca

1959 -- Returned to Florida to study Seminole ethnobotany. He also collected ethnographic materials, especially objects made for the tourist market, which he deposited in the United States National Museum

1959-1960 -- Member of the executive committee of the Florida Anthropological Society

1960 -- July and August: Visited 17 European museums to examine early ethnographic examples and possible European prototypes of eastern North American Indian material culture

1961-1962 -- Spent the summers of these years conducting ethnographic fieldwork among the Seneca-Cayuga in Oklahoma

1962 -- October: Visited the Six Nations Reserve in Ontario, Canada to conduct fieldwork among the Seneca and Cayuga there

1962-1968 -- Book-review editor and associate editor of the American Anthropologist

1963 -- October: Spent the year in Burma; visited neighborhoods in Rangoon and villages in the surrounding countryside, examined photographs in several archives, studied the Burmese language, and read extensively about the country's history and culture. Assembled notes on Burmese clothing and other aspects of the culture, took hundreds of photographs, and made a collection of 386 items of clothing and other objects for the Smithsonian

1964 -- Visited Inle Lake in the Southern Shan States southeast of Mandalay, where he examined local approaches to artificial island agriculture

1964-1981 -- Became a member of the American Anthropological Association's Committee on Anthropological Research in Museums, which became the Council for Museum Anthropology in 1974. Sturtevant was the Council's first vice president, serving two terms between 1974 and 1978, and was its president from 1978 to 1981

1965 -- Became curator of North American Ethnology in the Department of Anthropology at the National Museum of Natural History after the dissolution of the BAE

1965-1966 -- President of the American Society for Ethnohistory

1966 -- Named the editor of the Handbook of North American Indians

1967-1968 -- Fulbright scholar and lecturer at Oxford University's Institute of Social Anthropology

1969 -- Began serving on the American Anthropological Association's Committee on Archives

1974-1989 -- Adjunct Professor in the Department of Anthropology at Johns Hopkins University

1976-1982 -- Served three terms on the Board of Trustees of the Museum of the American Indian-Heye Foundation and was appointed to a fourth term between 1984 and 1986

1977 -- President of the American Ethnological Society

1980-1981 -- President of the American Anthropological Association

1981 -- Spent part of the spring semester at the University of California Berkeley as a Regents Lecturer

1982-1988 -- Board of Directors of Survival International

1986 -- Divorced Theda Maw

1986-1987 -- Smithsonian Fellow at Oxford University's Worcester College

1990 -- Married Sally McLendon

1992 -- President of the Anthropological Society of Washington

1996 -- Awarded an honorary doctorate in humane letters at Brown University

2007 -- Died March 2 in Rockville, MD
Related Materials:
Other materials relating to William C. Sturtevant at the National Anthropological Archives are included in the following collections:

Manuscript 4504

Manuscript 4595

Manuscript 4806

Manuscript 4821

Manuscript 4972

Manuscript 7045

Photo Lot 59

Photo Lot 79-51

Photo Lot 80-3

Photo Lot 81R

Photo Lot 86-68 (6)

Photo Lot 86-68 (7)

American Society for Ethnohistory records

Committee on Anthropological Research in Museum Records

Handbook of North American Indians records

Records of the Department of Anthropology, National Museum of Natural History

Gordon Davis Gibson Papers, Sound Recordings

SPC Se Powhatan Confederacy Mattapony BAE No # 01790700

DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04913800

DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04913900

DOE Oceania:Amer Poly:Hi:Hawaiian Helmet:Sturtevant 04914000

Negative MNH 1530

Negative MNH 1530 B

Sturtevant is listed as a correspondent in the following NAA collections:

Administrative file, 1949-1965, Records of the Bureau of American Ethnology

John Lawrence Angel Papers

James Henri Howard Papers

Donald Jayne Lehmer Papers

John Victor Murra Papers

Records of the Society for American Archaeology

Albert Clanton Spaulding Papers

Waldo Rudolph Wedel and Mildred Mott Wedel Papers

Copies of sound recordings made by William C. Sturtevant can be found at The California Language Archive at UC Berkeley in two collections, The William Sturtevant collection of Creek/Seminole sound recordings, which includes 31 minutes of Northern Muskogean linguistic field recordings from 1951, and The William Sturtevant collection of Mikasuki sound recordings, which includes 33 minutes of Mikasuki linguistic field recordings from 1951. Two sound tape reels of Seminole music Sturtevant recorded in Florida in 1951 can be found at Wesleyan University's World Music Archives. Folk songs on these recordings include "Scalping Sickness," "Bear Sickness with blowing," "Bear sickness without blowing," "Lullaby," "Feather Dance," "Snake Dance," and "Crazy Dance." Performers include Josie Billie, Lee Cypress, Harvey Jumper, Boy Jim, Charlie (Johnny?) Cypress, Little Tiger Tail, Billy Ossiola, and Charlie Billy Boy.
Separated Materials:
One video tape, "Seminole History and Tradition", was transferred to the Human Studies Film Archives. Series 2.2, Tukabahchee Plate: Glass negative of spectrogram from FBI (Box 135), removed for storage with other glass plate negatives.
Provenance:
These papers were transferred to the National Anthropological Archives by the Department of Anthropology at the National Museum of Natural History.
Restrictions:
Files containing Sturtevant's students' grades have been restricted, as have his students' and colleagues' grant and fellowships applications. Restricted files were separated and placed at the end of their respective series in boxes 87, 264, 322, 389-394, 435-436, 448, 468, and 483. For preservation reasons, his computer files are also restricted. Seminole sound recordings are restricted. Access to the William C. Sturtevant Papers requires an apointment.
Rights:
Contact the repository for terms of use.
Topic:
Ethnology  Search this
Botany  Search this
Anthropology  Search this
Archaeology  Search this
Indians of North America -- Northeast  Search this
History  Search this
Linguistics  Search this
Genre/Form:
Realia
Research
Notes
Office files
Theses
Slides (photographs)
Sound recordings
Exhibition catalogs
Field notes
Clippings
Correspondence
Photographs
Microfilms
Newsletters
Manuscripts
Memorandums
Articles
Card files
Books
Artifacts
Negatives
Citation:
William C. Sturtevant papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2008-24
See more items in:
William C. Sturtevant papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3b2223e72-e872-41c5-ae7b-abd0b27eaf6a
EDAN-URL:
ead_collection:sova-naa-2008-24
Online Media:

Oral history interview with Akio Takamori

Interviewee:
Takamori, Akio, 1950-  Search this
Interviewer:
Riedel, Mija, 1958-  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Extent:
8 Items (wav files (7 hr., 51 min.), digital)
184 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2009 March 20-21
Scope and Contents:
An interview of Akio Takamori conducted 2009 March 20-21, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Takamori's studio, in Seattle, Washington.
Interview of Akio Takamori, conducted by Mija Reidel for the Archives of American Art, in Seattle, Washington on March 20, 2009. Takamori speaks of growing up in Nobeoka, Japan where his father ran a medical clinic in a diverse part of town; the post war structure of society and the buildings themselves; his interest in art as a young childing drawing figural scenes; class and social situations he observed as a child; his father's interest in both Japanese and Western art; an interest in Peter Bruegel that turned into a lifelong inspiration; the role of politics in his family; moving to Miyazaki, Japan as a young teenager to live with his grandparents while going to school; joining the art club in high school and his fellow club mates who introduced him to more contemporary Japanese and European art; creating Happenings in high school; his interest in county folklore and superstitions and its eventual role in his art; the interaction between Western contemporaries and Japanese traditions in his work; his interest in art history; attending Musashino Art College in Tokyo, Japan where he majored in industrial ceramics; being dissatisfied with college; his political activism while in college; experimenting with paper mache to create three dimensional objects; the mingei movement; his apprenticeship in Koishiwara, Japan where he learned the fundamentals of functional potter; meeting lifelong friends such as Christ Holmquist and mentor Ken Ferguson while in Koishiwara; moving to the United States in 1974 and attending Kansas City Art Institute under the direction of Ferguson; various projects he undertook while finishing his degree at Kansas City; receiving his MFA from Alfred University, where he experimented with the idea of what contemporary art should be; his slab pieces; his first residency at the Archie Bray foundation in Helena, Montana and his continued relationship with the Foundation; traveling between Japan and the United States while acting as a substitute professor at various universities; his relationship with Garth Clark's gallery for over 20 years; teaching full time as a professor at the University of Washington in Seattle, beginning in 1993; the importance of stressing both technique and creativity; his joy at watching the development of his students; transitions in his work brought on each decade and through constant travel; the role of globalization in his work; the narrative of the group pieces he has created in recent years; his memory as constant inspiration and more recent projects, including larger, figurative works. Takamori also recalls Victor Babu, Val Cushing, Wayne Higby, Tony Hepburn, Ted Randall, Robert Turner, William Perry, Peter Voulkos, Rudy Autio, David Shaner, Jun Kaneko, Jamie Walker, Doug Jeck, Amie McNeel, Mark Zirpel, Patti Warashina, Viola Frey, Betty Woodman, Elizabeth Brown, Josh DeWeese and others.
Biographical / Historical:
Akio Takamori (1950-2017) was a Japanese American ceramist based in Seattle, Washington.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 8 digital wav files. Duration is 7 hr., 51 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Ceramicists -- Washington (State) -- Seattle  Search this
Topic:
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American ceramicists  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.takamo09
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9628dccf5-4268-4cbe-b7e0-00d9634d554b
EDAN-URL:
ead_collection:sova-aaa-takamo09
Online Media:

Beatrice Medicine papers

Creator:
Medicine, Beatrice  Search this
Extent:
28 Linear feet (65 document boxes, 1 box of oversize materials, 1 box of ephemera, 1 shoebox of index cards, 1 map drawer)
Culture:
Oglala Lakota (Oglala Sioux)  Search this
Native American  Search this
American Indian -- Education  Search this
Type:
Collection descriptions
Archival materials
Correspondence
Place:
Standing Rock Sioux Tribe of North & South Dakota
Date:
1914-2003
bulk 1945-2003
Summary:
The Beatrice Medicine papers, 1913-2003 (bulk 1945-2003), document the professional life of Dr. Beatrice "Bea" Medicine (1923-2005), a member of the Standing Rock Sioux tribe, anthropologist, scholar, educator, and Native rights activist. The collection also contains material collected by or given to Medicine to further her research and activism interests. Medicine, whose Lakota name was Hinsha Waste Agli Win, or "Returns Victorious with a Red Horse Woman," focused her research on a variety of topics affecting the Native American community: 1) mental health, 2) women's issues, 3) bilingual education, 4) alcohol and drug use, 5) ethno-methodologies and research needs of Native Americans, and 6) Children and identity issues. The collection represents Medicine's work as an educator for universities and colleges in the United States and in Canada, for which she taught Native American Studies courses. Additionally, because of the large amount of research material and Medicine's correspondence with elected U.S. officials and Native American leaders, and records from Medicine's involvement in Native American organizations, the collection serves to represent issues affecting Native Americans during the second half of the 20th century, and reflects what Native American leaders and organizations did to navigate and mitigate those issues. Collection materials include correspondence; committee, conference, and teaching material; ephemera; manuscripts and poetry; maps; notes; periodicals; photographs; training material; and transcripts.
Scope and Contents:
The papers of Beatrice Medicine reflect Medicine's interests as an academic and an activist, and contain correspondence, committee, conference, and teaching material, ephemera, manuscripts and poetry, maps, notes, periodicals, photographs, and training material (see series scope notes for further details on contents). The majority of the material is printed matter that Medicine collected, with less of her own work included. Taken together, the collection reflects issues affecting Native Americans during the second half of the 20th century, as well as the network of Native American leaders and organizations that navigated these issues. Student papers, letters of recommendation, evaluations, and documents containing personally identifiable information are restricted.
Arrangement:
The collection is divided into 24 series:

Series 1: Native American Culture and History, 1954-1962, 1967-1975, 1978-1989, 1991-1997, 1999-2002

Series 2: Appropriations, Economics, and Labor, 1955, circa 1970-1980, 1988, 1993, circa 1995-2000

Series 3: Archaeology, 1935-1950, 1952-1973, 1987-1995

Series 4: Native American Artists, Authors, Crafts, Film, and Poets, 1951-1969, 1972-2002

Series 5: Census, Demographic, and Poll Data, 1974, 1984-1986

Series 6: Civil Rights, 1972, 1980, 1983-1997

Series 7: Committee Material: Correspondence, Meeting Minutes, and Memos, 1985-1995

Series 8: Conference Material, 1955-1962, 1965, 1968-1974, 1976-2002

Series 9: Correspondence, 1952, 1959, 1962, 1966-2000

Series 10: Education: Native American Institutions and Teaching Material, 1948-2002

Series 11: Ephemera: Campaign, Pow-Wow, and Other Event Buttons, and Calendars, 1973, 1976, circa 1980-2000

Series 12: Health: Alcohol and Drug Addiction and Recovery, Disabilities, Healthcare, Mental Health, Nutrition, and Wellness, 1955, 1965, 1969-1999, 2004

Series 13: Historic Preservation, 1942, 1956, 1960-1969, 1979, circa 1985-1998

Series 14: Invitations, 1966-1979, 1982, 1991-2002

Series 15: Linguistics: Native American Languages, 1961, 1963, 1975, 1978-1981, 1987-1995

Series 16: Manuscripts, 1964-2003

Series 17: Maps, 1982-1991

Series 18: Museum Material: Native American Museums, Exhibit Preparation, and the National Museum of the American Indian, 1949, 1962, circa 1976-1998

Series 19: Oversized Material, 1962, circa 1965-1996, 1999

Series 20: Published material: Journals, Magazines, Monographs, and Newsletters, 1914, 1932, 1944, 1946-1947, 1952-2003

Series 21: Reports, 1947-1949, 1956-1998

Series 22: Training Material, 1968, 1988-2000

Series 23: Women and Gender, 1962, 1965, circa 1970-1997

Series 24: Restricted Material, 1972, 1978, 1987-1999
Biographical / Historical:
A member of the Standing Rock Sioux tribe, Beatrice "Bea" Medicine—also known by her Lakota name Hinsha Waste Agli Win, or "Returns Victorious with a Red Horse Woman"—was born on the Standing Rock Indian Reservation in Wakpala, South Dakota on August 1, 1923.

As a young adult, she studied at the South Dakota State University on the Laverne Noyes Scholarship, where she attained her B.A. in Anthropology in 1945. Between 1945 and 1951, Medicine worked a variety of teaching positions, including for three American Indian institutions (see Chronology for Medicine's complete work history). In 1951, Medicine went back to school and worked as a research assistant until she earned her master's degree in Sociology and Anthropology from Michigan State University in 1954. For the remainder of her life, Medicine served as faculty, visiting professor, and scholar-in-residence at thirty-one universities and colleges in the United States and Canada, teaching cultural and educational anthropology courses, as well as Native American Studies. As an educator, Medicine carried out her research on a variety of issues affecting Native American and First Nation communities, including: 1) mental health issues, 2) women's issues—professionalization, sterilization, socialization, and aging, 3) bilingual education, 4) alcohol and drug use and abuse, 5) ethno-methodologies and research needs, and 6) socialization of children and identity needs. Medicine's research in American Indian women's and children's issues, as well as her research in gender identity among the LGBT community was among the first to document the narratives of the members of these groups.

In 1974, Medicine testified alongside her cousin, Vine Deloria, Jr., as an expert witness in the Wounded Knee trial (United States v. Banks and Means). Following this, Medicine returned to school to pursue her Ph.D. in Cultural Anthropology, which she completed in 1983 at the University of Wisconsin. With her experience as a researcher, educator, activist, and Lakota woman, medicine sought to create more opportunities for multicultural and bilingual education for minority students, especially those of Native American descent. Such education, she believed, provided students a means to preserve and legitimize their own cultural identity, debase negative stereotyes, and be recognized as individuals who are capable of academic and economic achievement.

Medicine was an active member of the American Anthropological Association (AAA) and pursued her educational agenda further through the establishment of the Committee of Anthropologists in Primarily Minority Institutions (CAPMI) (1987-1995), which brought anthropologists out of retirement to teach at minority institutions. (See Chronology for a complete list of organizations and committees in which Medicine was involved.) The program was short-lived but provided a space for minority students to confront a field that historically misrepresented them, reclaim their narratives and languages, and instigate positive change as potential future anthropologists.

Medicine officially retired on August 1, 1989, but continued to be active in AAA and was honored many times for her contributions to the field of anthropology. Some of her recognitions include the Distinguished Service Award from AAA (1991) and the Bronislaw Malinowski Award from the Society for Applied Anthropology (1996). One of Medicine's highest honors, however, was serving as the Sacred Pipe Woman at the 1977 Sun Dance. Medicine continued her research into retirement, and went on to publish her first book in 2001, Learning to Be an Anthropologist and Remaining "Native": Selected Writings. Medicine died in Bismarck, North Dakota on December 19, 2005. Medicine's final work, Drinking and Sobriety Among the Lakota Sioux was published posthumously in 2006. In honor of her life's work and dedication to education, the Society for Applied Anthropology (SfAA) created the Bea Medicine Award, a scholarship travel grant for students to attend the Annual Meeting of the SfAA.

Chronology: Beatrice Medicine

1923 August 1 -- Beatrice Medicine (also known by her Lakota name, Hinsha Waste Agli Win, or "Returns Victorious with a Red Horse Woman") is born on the Standing Rock Indian Reservation in Wakpala, South Dakota.

1941-1945 -- Receives scholarship: Laverne Noyes Scholarship, South Dakota State University

1945 -- Receives Bachelor of Arts, Anthropology, South Dakota State University.

1945-1946 -- Teacher, Home Economics, Haskell Indian Institute (B.I.A.)

1947-1948 -- Health Education Lecturer, Michigan Tuberculosis Association

1948-1949 -- Teacher, Santo Domingo Pueblo, United Pueblos Agency, Albuquerque, New Mexico

1949-1950 -- Teacher, Navajo Adult Beginner's Program, Albuquerque Indian School

1950-1951 -- Teacher, Home Economics, Flandreau Indian School

1950-1954 -- Fellowship: Illinois Federation of Women's Clubs Fellowships

1951-1954 -- Research Assistant, Sociology and Anthropology, Michigan State University

1953-1954 -- Fellowship: John Hay Whitney Foundation Fellowship

1954 -- Receives Master of Arts, Sociology and Anthropology, Michigan State University. Fellowship: American Council of Learned Societies Fellowship

1954- -- Charter Member, American Indian Women's Service League

1955-1958 -- Teaching and Research Assistant, University of Washington

1956 -- Honor: Outstanding Alumna, South Dakota State University

1960 -- Mentioned as "Who's Who Among American Indians"

circa 1960 -- Alpha Kappa Delta, Sociology Hononary Phi Upsilon Omicron, Home Economic Honorary

1960-1963 -- Lecturer, Anthropology, University of British Columbia

1960-1964 -- Board of Directors, Native Urban Indian Centers in Vancouver, British Columbia and Calgary, Alberta

1963-1964 -- Lecturer/Sociology and Teacher/Counselor, Mount Royal College, Indian Affairs Branch Receives grant: American Council of Learned Societies Research Grant

1965 -- Lecturer, Social Science, Michigan State University

1966 -- Psychiatric Social Worker, Provincial Guidance Centre, Calgary, Alberta, Canada

1966-1967 -- Receives grant: Career Development Grant, National Institute of Mental Health

1966- -- Member, National Congress of American Indians (Education Issues)

1967 -- Receives grant: Ethnological Research Grant, National Museum of Canada

1967-1968 -- Lecturer, Sociology and Anthropology, University of Montana

1968 -- Teacher, "Cultural Enrichment Program," Standing Rock Indian Reservation, South Dakota Cited in "The Role of Racial Minorities in the United States," Seattle, Washington

1968 March -- Speaker: "The Pow-Wow as a Social Factor in the Northern Plains Ceremonialism," Montana Academy of Sciences

1968 May -- Speaker: "Patterns and Periphery of Plains Indian Pow-Wows," Central States Anthropological Society

1968 June -- Speaker: "Magic Among the Stoney Indians," Canadian Sociology and Anthropological Association, Calgary, Alberta

1968 August -- Speaker: "Magic Among the Stoney Indians," International Congress of Americanists, Stuttgart, German Speaker: "The Dynamics of a Dakota Indian Giveaway," International Congress of Americanists, Stuttgart, German

1968-1969 -- Director, American Indian Research, Oral History Project and Assistant Professor of Anthropology, University of South Dakota

1968-1970 -- Consultant, Text Book Evaluation Committee, American Indians United

1969 -- Assistant Professor, Teacher Corps, University of Nebraska

1969 September -- Speaker: "The Red Man Yesterday," Governor's Interstate Indian Council, Wichita, Kansas

1969 December -- Speaker: "The Native American in Modern Society," Northwestern State College

1969-1970 -- Assistant Professor, San Francisco State University Speaker: "The Indian in Institutions of Higher Learning," Annual Conference, National Indian Education Association

1969-1975 -- Member, Editorial Board, American Indian Historical Society

1970 -- Mentioned for second time as "Who's Who Among American Indians" Steering Committee Member, Indian Ecumenical Convocation of North America Member, Planning Committee Indian Alcoholism and Drug Use

1970 August -- Speaker: "The Role of the White Indian Expert," 2nd Annual Conference, National Indian Education Association

1970 October -- Speaker: "The Ethnographic Study of Indian Women," Annual Convention, American Ethnohistorical Soceity

1970 November -- Speaker: "The Anthropologists as the Indian's Image Maker," Annual Meeting, American Anthropological Association Speaker: "The Anthropologist and Ethnic Studies Programs," Annual Meeting, American Anthropological Association

1970-1971 -- Associate Professor, Anthropology, San Francisco State University Member, Mayor's Committee on the Status of Women, San Francisco, California

1971 -- Member, Native American Scholars Board, Steering and Selection, American Indian Historical Society

1971 May -- Speaker: "Ethnic Studies and Native Americans," National Education Association

1971-1973 -- Pre-Doctoral Lecturer, Anthropology, University of Washington Consultant, American Indian Heritage Program

1972 -- Honored in "Potlatch" ceremony by Makah Tribal people at the National Indian Education Conference for contributions to Indian education Receives grant: American Council of Learned Societies Travel Grant, Americanist Annual Meeting, Rome, Italy Curriculum Advisor, Lakota Higher Education Center, Prine Ridge, South Dakota

1972 March -- Speaker: "Warrior Women Societies," Northwest Anthropological Conference

1972 April -- Chairperson and Speaker: "Racism and Ethnic Relations," Society for Applied Anthropology

1972 June -- Chairperson, Native American Studies Symposium, International Congress of Americanists, Mexico

1972 August -- Speaker: "Warrior Women of the Plains," International Congress of Americanists, Rome, Italy

1972 November -- Speaker: "Native Americans in the Modern World," Southwest Minnesota State College

1973 -- Expert Witness, Yvonne Wanro Trial, Spokane, Washington Member, Organization of American States, First Congress of Indigenous Women, Chiapas, Mexico Speaker: "Self-Direction in Sioux Education," American Anthropological Association Speaker: "North American Native Women: The Aspirations and Their Associations," presented as a Delegate to the Inter-American Commission on Indigenous Women, Chiapas, Mexico

1973-1974 -- Visiting Professor, Anthropology, Native American Studies Program, Dartmouth College

1973-1976 -- Member, Committee on Minorities in Anthropology, American Anthropological Association

1973- -- Consultant, Human Services Department, Sinte Gleska Community College

1974 -- Expert Witness, Wounded Knee Trial, Lincoln, Nebraska Speaker: "Indian Women's Roles: Traditional and Contemporary," Annual Meeting, American Anthropological Association

1974-1975 -- Visiting Professor, Anthropology, Colorado College

1975-1976 -- Visiting Associate Professor, Anthropology, Stanford University

1975-1977 -- Member, Steering Committee, Council of Anthropology and Education, American Anthropological Association

1976 -- Visiting Professor, Educational Anthropology, University of New Brunswick Expert Witness, Topsky Eagle Feathers Trial, Pocatello, Idaho Panelist, White House Conference on Ethnic Studies, Washington, D.C.

1977 -- Expert Witness, Greybull Grandchildren Custody Case, Portland, Oregon American Indian representative to the World Conference on Indigenous People, Geneva, Switzerland Honor: Outstanding Alumna, South Dakota State University

1977 August 18 -- Medicine serves as Sacred Pipe Woman at the Sun Dance, Green Grass, South Dakota

1977-1980 -- Education Consultant, National Congress of American Indians, Washington, D.C.

1978 -- Cited in the Directory of Significant 20th Century American Minority Women, Gaylord Professional Publications Biographical Sketch in "Moving Forward" of the Bookmark Reading Program, Third Edition

1978 August -- Speaker: "Issues in the Professionalization of Native American Women," Annual Meeting, American Psychological Association

1978-1982 -- Advanced Opportunity Fellow, Department of Anthropology, University of Wisconsin-Madison

1979 -- Visiting Professor, Department of Education Policy Sciences, University of Wisconsin-Madison

1979 August -- Honorary Doctorate of Human Letters, Northern Michigan University Speaker: "The Dakota Indian Memorial Feast: Reservation and Urban Manifestations," International Congress of Americanists, Lima, Peru

1980 -- Member, Nominations Committee, American Anthropological Association Biographical Sketch in "Native American Indian Personalities, Historical and Contemporary," Dansville, New York: The Instructor Publications, Inc.

1981 -- Visiting Professor, Graduate School of Public Affairs, University of Washington-Seattle Speaker: "Linguistically Marginated: The Transformation of Dominated Speech Varieties," American Anthropological Association

1982 -- School of Social and Behavioral Science Academic Planning, California State University Speaker: "Policy Decisions: Federal Regulations and American Indian Identity Issues," Annual Meeting, American Anthropological Association

1982-1983 -- Anthropology Department Curriculum Committee, California State University

1982-1985 -- Associate Professor of Anthropology, Coordinator, Interdisciplinary Program in American Indian Studies, California State University Coordinator, Interdisciplinary Program in American Studies Program, California State University

1982- -- President, Assembly of California Indian Women

1983 -- Receives Ph.D., Cultural Anthropology, University of Wisconsin Expert Witness, Fortunate Eagle Trial, Reno, Nevada Award: Outstanding Woman of Color, National Institute of Women of Color, Washingtonton, D.C. (for anthropological contributions) Award: Outstanding Minority Researcher, American Educational Research Association Publishes book with Patricia Albers: The Hidden Half: Indian Women of the Northern Plains Honor: Significant Academic Book (The Hidden Half), Choice, Association of Colleges and Research Libraries, American Library Association

1983-1984 -- Student Affirmative Action Coordinating Council, California State University

1983-1986 -- Member, Executive Board, Southwest Anthropological Association Member, Governing Board, Common Cause

1984 -- Member, Advisory Board of National Research for Handicapped Native Americans, North Arizona University Scholarly Publications Award Selection Committee, California State University Award: Faculty Award for Meritorious Service, California State University Speaker: Field Work Methods: "Ties That Bond," Committee on the Status of Women in Anthropology," Annual Meeting, American Anthropological Association Speaker: "Career Patterns of American Indian Women," Council of Education and Anthropology, Annual Meeting, American Anthropological Association

1984 November -- Faculty Award for Meritorious Service, California State University

1984-1985 -- Participant, Chancellor's Office Grant to "Cross-Cultural Perspectives in the Social Sciences," California State University

1985 November -- Speaker: Conference on "The Native American: His Arts, His Culture, and His History," West Virginia State College

1985-1986 -- Board of Directors, Naechi Institute on Alcohol and Drug Education

1985-1988 -- Professor, Department of Anthropology and Director, Native Centre, University of Calgary

1985-1989 -- Member, Malinowski Awards Committee, Society for Applied Anthropology

1987 -- Honor: Outstanding Minority Professorship Martin Luther King and Rosa Parks Visiting Professor, University of Michigan

1987-1995 -- Member, Committee of Anthropologists in Primarily Minority Institutions, American Anthropological Association

1988 August 1 -- Medicine officially retires.

1989 -- Volunteer (Committee of Anthropologists in Primarily Minority Institutions, American Anthropological Association), Standing Rock College Honor (twice): Outstanding Minority Professorship Martin Luther King and Rosa Parks Visiting Professor, Wayne State University.

1990 -- Honor: "Outstanding Contributions for the promotion of sex equity in Education," Illinois State Board of Education Honor: Outstanding Lakota Woman, Standing Rock College

1991 -- Honor: Distinguished Service Award, American Anthropological Association. Medicine was the first American Indian to receive this award.

1991 -- Visiting Professor, Saskatchewan Indian Federal College Visiting Professor, Colorado College Visiting Professor, Anthropology, Humboldt State University

1992 -- Visiting Distinguished Professor, Women's Studies, University of Toronto

1993 -- Visiting Professor, Rural Sociology, South Dakota State University Award: Distinguished Native American Alumna Award, South Dakota State University

1993-1994 December -- Research Co-ordinator, Women's Perspectives, Royal Commission on Aboriginal Peoples

1994- -- Adjunct Professor, University of Alberta

1995 -- Scholar in Residence, Minnesota Historical Society, St. Paul Visiting Scholar, Museum of Anthropology, University of British Columbia Award: Ohana Award, Multi-Cultural Counseling Excellence, American Association of Counselors

1996 -- Award: Bronislaw Malinowski Award, Society for Applied Anthropology. Buckman Professor, Department of Human Ecology, University of Minnesota

circa 1997- -- Associate Professor of Anthropology Emeritus, Department of Anthropology, California State University

2001 -- Publishes book: Learning to Be an Anthropologist and Remaining "Native": Selected Writings.

2005 -- Award: George and Louise Spindler Award, Council on Anthropology and Education, American Anthropological Association.

2005 December 19 -- Medicine dies during emergency surgery in Bismarck, North Dakota.

2006 -- Book: Drinking and Sobriety Among the Lakota Sioux is published posthumously.

2008 -- The Society for Applied Anthropology creates the Bea Medicine Award.
Provenance:
The papers were donated to the National Anthropological Archives by Beatrice Medicine between 1997 and 2003, and by Ted Garner in 2006.
Restrictions:
Materials relating to student grades, letters of recommendation, and evaluations have been restricted.
Rights:
Contact the repository for terms of use.
Topic:
Alcohol  Search this
Gender imagery  Search this
Discrimination  Search this
Linguistics -- Research -- United States  Search this
Photographs  Search this
Lakota Indians  Search this
Genre/Form:
Correspondence
Citation:
Beatrice Medicine papers, National Anthropological Archives, Smithsonian Institution.
Identifier:
NAA.1997-05
See more items in:
Beatrice Medicine papers
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3cae267e3-888b-46b8-a525-c7c0ad396b59
EDAN-URL:
ead_collection:sova-naa-1997-05

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