This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.
Scope and Contents:
The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.
Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.
The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.
Arrangement note:
The collection is arranged in 10 series:
Series 1: Correspondence, 1942-1987
Series 2: Folkways Production, 1946-1987
Series 3: Business Records, 1940-1987
Series 4: Woody Guthrie papers, 1927-1985
Series 5: Early Label Materials, 1940-1949
Series 6: Biographical Materials, 1926-1987
Series 7: Photographs
Series 8: Artwork
Series 9: Audio Recordings
Series 10: Film
At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.
Biographical/Historical note:
The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.
Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.
Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.
Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Provenance:
Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Sri venkatesa suprabhatam--Bharayami--Sri Rangapura vihara.
Local Numbers:
FP-RINZ-LP-1564
Odeon.1009
Publication, Distribution, Etc. (Imprint):
India Odeon 196x
General:
Vocal music. M.S. Subbulakshmi Responsibility: recited by Srimati M.S. Subbulakshmi.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Armstrong Manual Training School, built in 1902, was authorized by congress as a vocational high school for African American youth in Washington, DC. The school was named for Samuel C. Armstrong (1839-1893), a white commander of an African American Civil War regiment and founder of Hampton Institute, now University. Designed by local architect Waddy B. Wood, the Renaissance Revival building provided carpentry, machine, foundry, and blacksmith workshops. In addition, the school taught chemistry and physics. Dr. Wilson Bruce Evans, the father of performing artist Lillian Evans Tibbs, served as founding principal. Duke Ellington, William "Billy"Eckstein, and John Malachi are among a host of Armstrong graduates who became prominent in their profession. In 1996 the school was placed on the National Register of Historic Places in the District of Columbia.
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Instrumental and vocal music from African cultures including Akonodey by Akan Adowa musicians, Dance Of The Witch Doctor by Festival Music Of The Princess Of Dahomey, and Ewe Chorus with drum, rattle, gong.
Music. Undated.
Restrictions:
Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Principally vocal music. Recorded in 1971. Unesco collection; Musical sources. 1, The primeval cultures, 2
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
File was not housed in a binder like other document groups
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
UNESCO Collection of Traditional Music of the World records, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
File was not housed in a binder like other document groups.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
UNESCO Collection of Traditional Music of the World records, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
File was not housed in a binder like other document groups.
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
UNESCO Collection of Traditional Music of the World records, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
Bells of the Novodevichy convent (1:12) -- My soul doth magnify the Lord / P. Chesnokov (6:44) -- The King of heaven : Dogmatik : tone 8 : Znamenny chant / P. Turchaninov (2:21) -- Who is so great a god as our God? : the Great Gradual / D. Bortnyansky (2:44) -- Magnificat : Znamenny chant / P. Grebenshchikov (2:22) -- Hymn to the Birth-Giver of God : Chant of the Optina Hermitage / arr. by Matfey Mormyl (1:49) -- It is meet : Athonite chant / D. Yaichkov (2:43) -- Gradual : tone 2 / P. Tretyakov (3:42) -- O now bless the Lord / R. Riutov (4:52) -- I will open my mouth : Heirmos. Canticles 1, 3, 6, 8, 9 / V. Lirin (4:12) -- Establish, o Lord / A. Kosolapov (1:58) -- The Hymn for St. Daniel, prince of Moscow : Chant of the Sedmiezernaya Hermitage (1:41) -- Queen of the heavenly host / N. Kochanovsky (1:25) -- Hymn for the Hodegetria : tone 4 : Traditional chant (1:11) -- Thou dost intercede for all, o Good One. Stanza : tone 2 : Chant of the Optina Hermitage (1:32) -- Thou, the Guide of those who stray. Stanza for the Lauds : tone 4 : Chant of the Optina Hermitage (1:45) -- The hymn for the day [Dormition of the most holy Birth-Giver of God] : tone 1 : Traditional chant (1:06) -- O marvel, wonderful. Stanza for "Lord, I have cried" : tone 1 : Chant of the Kievo-Pecherskaya lavra (1:18) -- At the sovereign command of God. Stanza at the entrance (3:45) -- The Birth-Giver of God, constant in supplication : Collect hymn for the Dormition : Chant of the Kievo-Pecherskaya lavra (2:13) -- Adorned with the divine glory : Heirmos of the canon for the Dormition / A. Lvov (0:47) -- Megalynarion for the Dormition / P. Turchaninov (2:19) -- O, ye apostles : Protogogicon for the Dormition : Greek chant (2:22) -- Litany of fervent supplication / P. Chesnokov (5:43) -- The beatitudes, with the hymns for the Hodegetria : Chant of the Kievo-Pecherskaya lavra (2:45) -- A mercy of peace : op. 10, no 4 / P. Chesnokov (4:31) -- The angel cried : Megalynarion to Holy Easter / P. Chesnokov (3:01) -- Bells of the Novodevichy convent (1:39).
Track Information:
101 Bells of Novodevichy Convent / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
102 My Soul Doth Magnify the Lord / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
103 The King of Heaven / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
104 Who is So Great as God as Our God / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
105 The Magnificat / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
106 Hymn to the Birth- Giver of God from the Service to All the Saints Who Glorified in the Land of Russia / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
107 It is Met / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
109 O Now Bless the Lord / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
110 I Will Open My Mouth / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
111 Establish O Lord / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
112 The Hymn for St. Daniel, Prince of Moscow / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
113 Queen of the Heavenly Host / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
114 The Hymn for the Hodegetria / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
115 Thou Dost Intercede for All, Good One / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
116 Thou, the Guide of Those Who Stray / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
117 The Hymn for the Day / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
118 O Marvel Wonderful I / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
119 At the Sovereign Command of God / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
120 The Birth-Giver of God Constant in Supplication / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
121 Adorned with the Divine Glory / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
122 Megalynarion for the Dormition / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
123 O Ye Apostles / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
124 Litany of Fervent Supplication / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
125 The Beatitudes with the Hymns for the Hodegetria / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
126 A Mercy of Peace / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
127 The Angel Cried / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
128 Bells of the Novodevichy Convent / Uspenskii. sobor (Moscow, Russia), Moskovskii. novodevichii. monastyr, Petr Polyakov.
Local Numbers:
UN-COMM-CD-08301-7
UNESCO.8301
Publication, Distribution, Etc. (Imprint):
Paris, France Audivis 1989
General:
Commercial
Russian chants (harmonized), and other sacred vocal music; includes hymns for the Feast of the Smolensk Icon of the Mother of God (Hodegetria), for the Dormition of the most holy Birth-Giver of God, and for the divine liturgy. Brief descriptive notes in English and French (7 p.) inserted in container.
Restrictions:
Restrictions on access.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Alap and dhrupad (29:35) -- Alap and khyal (22:51).
Track Information:
101 Alap and Dhrupad / Dagar Brothers, Moinuddin Dagar, Nasir Aminuddin Khan Dagar, Raja Chhatrapati, Suraya Dagar. Drum,Lute.
102 Atap and Khyal / Robin Kumar Chatterjee, Nazir Ahmad, Kedarnath Bhatt, P.S. Rajvedi Lute,Sarangi,Tabla.
Local Numbers:
UN-COMM-CD-08076-9
UNESCO.8076
Publication, Distribution, Etc. (Imprint):
Paris, France Audivis 1971
General:
Commercial
Recorded 1965-1971. Previously issued in 1971. Compact disc. Analog recordings. Program notes by Alain Danierlou in English and French on container insert.
Restrictions:
Restrictions on access. rr.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Kpanda dance (3:27) --Song to conclude the Kpanda dance (2:28) --Dance for the Queens' masks (6:27) --Dance of the elephant mask (3:36) --Dance of the excised girls (2:52) -- Music of a guardian spirit (3:52) --Little girls' sung games (4:24) --Song with forked harp accompaniment (3:09) --Song accompanied on the musical bow (3:23) --War song (3:19) -- Song with harp-lute accompaniment (3:36) --Song with sanza accompaniment (3:03) --Song of two little girls (2:31)
Track Information:
101 Kpanda dance.
102 Song to conclude the Kpanda dance.
103 Dance for the Queens' masks.
104 Dance of the elephant mask.
105 Dance of the excised girls.
106 Music of a guardian spirit.
107 Little girls' sung games.
108 Song with forked harp accompaniment.
109 Song accompanied on the musical bow.
110 War song.
111 Song with harp-lute accompaniment.
112 Song with sanza accompaniment.
113 Song of two little girls.
Local Numbers:
UNESCO.8048
Publication, Distribution, Etc. (Imprint):
Paris, France Audivis
Date/Time and Place of an Event Note:
Recorded in: Côte d'Ivoire.
General:
Commercial
Reissue of the LP of the same title issued in 1972 in the Musical Atlas series. Compact disc. Descriptive and ethnographic notes in English and French by Hugo Zemp (11 p.) in container.
Restrictions:
Restrictions on access. SI Permission.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
File was not housed in a binder like other document groups
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
UNESCO Collection of Traditional Music of the World records, Ralph Rinzler Folklikfe Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2014 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
At first, it might seem like an oxymoron to talk about the "folklore" or "folklife" of one of the world's most modern cities, but daily life in New York would be impossible without this body of shared urban traditions, of collective community knowledge, customs, historical memories, and cultural understandings that constitutes the folklife of the city. lt provides the basic ground rules that shape how New Yorkers interact with their families, their colleagues, and their fellow New Yorkers. From subway etiquette to local street food to stickball games, these traditions give New York City its unique sense of place.
ln addition to a shared urban culture, most New Yorkers also have one or more reservoirs of specialized traditional knowledge, which they have acquired from their ethnic and/or religious upbringing, working in a particular occupation, or living in a specific area of the city. The innumerable, multifaceted ways in which these factors interact are what make New York and New Yorkers so fascinating. Of course, it was impossible to cover all aspects of New York's culture in a single event, but by approaching city culture thematically, and by carefully selecting examples that highlight different aspects of work, life, and leisure in New York, New York City at the Smithsonian sought to acquaint Festival visitors with both the ordinary and extraordinary aspects of life in Gotham.
What gives New York a sense of being different is not merely tbe myriad ethnic and interest groups that are found in the city, but the complex ways in which they overlap and interact. The physical landscape of New York - the lack of space, the reliance on mass transit by people of vastly differing backgrounds, neighborhoods which are home to both the very rich and the extremely poor - makes it impossible for New Yorkers to ignore the influence of "others." From kosher Chinese restaurants to lrish hip-hop groups to Mexican pizzas, cultures from all corners of the globe have influenced one another in New York, in part because of their physical proximity.
The 2001 Smithsonian Folklife Festival celebrated just a few of the innumerable manifestations of traditional culture in New York City. More importantly, fieldwork leading up to the Festival allowed the Smithsonian, working in close collaboration with city-based cultural organizations and ethnic and occupational communities, to document daily life in New York City at the turn of the millennium. Material collected during the course of this research, as well as information recorded during and after the Festival, will significantly enrich the Smithsonian's archival holdings about New York City. A century from now, when scholars and writers want to know what it was like to live in New York in 2001, to work on Broadway, to drive a taxi, to trade stocks on Wall Street, or teach English in a school filled with recent immigrants, they can turn to the documentation collected by this project. That body of documentation - and the recordings and photographs made during the Festival itself - took on increased importance with the events of September 11, 2001, barely three months after the Festival had closed, which emphasized to all observers how the cultural values of New Yorkers, vividly on display to Festival visitors, also provided them a reservoir of resiliency to surmount those tragic events.
Nancy Groce was Senior Curator for the program, supported by several Area Curators: Ray Allen, music; Marion Jacobson, urban fashion; Annie Hauck-Lawson, foodways; Cathy Ragland, music; Ethel Raim, music; Henry Sapoznik, media; Brian Thompson, Wall Street; Kay Turner, Wall Street; and Steve Zeitlin, neighborhood. Arlene Reiniger was Program Coordinator.
An Advisory Committee included: Ruth Abram, Director, Lower East Side Tenement Museum; Gladys Pena Acosta, Director, RAICES; Ray Allen, Director, American Studies Program, Brooklyn College/CUNY; Gage Averill, Chair, Music Department, New York University; Fatima Bercht, Chief Curator, El Museo del Barrio; Melody Capote, Executive Director, Caribbean Culture Center/African Diaspora Institute; Barbara Cohen-Stratyner, Curator, New York Public Library for the Performing Arts; Cara De Silva, Food Historian; Miriam De Uriarte, Director of Education, El Museo del Barrio; Howard Dodson, Director, Schomburg Center for Research in Black Culture/NYPL; Sharon E. Dunn, Senior Assistant for the Arts, New York City Board of Education; Juan Flores, Professor, Black and Puerto Rican Studies, Hunter College/CUNY; Laura Hansen, Director, Place Matters, Municipal Art Society; John Haworth, Assistant Director, National Museum of the American Indian; Ellie Hisama, Director, Institute for Studies in American Music, Brooklyn College/CUNY; Barbara Kirshenblatt-Gimblett, Professor, Performance Studies Department, NYU; Leah Krauss, Program Officer, The New York Community Trust; Susana Torruella Leva!, Executive Director, El Museo del Barrio; Robert MacDonald, Executive Director, Museum of the City of New York; Fay Chew Matsuda, Executive Director, Museum of Chinese in the Americas; Ethel Raim, Executive Director, Center for Traditional Music and Dance; Jan Seidler Ramirez, Vice President of Public Affairs, New York Historical Society; Frances A. Resheske, Vice President of Public Affairs, Consolidated Edison Company; Joseph Sciarra, Academic Programs, Calandra Italian American Institute, Queens College; Gabrielle Shubert, Director, New York Transit Museum; Pravina Shukla, Assistant Professor, Folklore Department, Indiana University; John Kuo Wei Tchen, Director, Asian/Pacific/American Studies Program & Institute, NYU; Brian Thompson, Director, Museum of American Financial History; Michael Wallace, Historian and Author, CUNY; Steve Wheeler, Archivist, New York Stock Exchange; Theodora Yoshikami, Multicultural Program, American Museum of Natural History; Steven Zeitlin, Executive Director, City Lore: The Center for Urban Culture.
The program was produced in collaboration with New York's Center for Traditional Music and Dance and City Lore, with major funding from the New York City Council, the New York City Department of Cultural Affairs, Howard P. Milstein, and the New York Stock Exchange. The Leadership Committee was co-chaired by The Honorable Daniel Patrick Moynihan and Elizabeth Moynihan and corporate chairman Howard P. Milstein. Major support was provided by Amtrak, Con Edison, the Recording Industries Music Performance Trust Funds, Arthur Pacheco, and the Metropolitan Transportation Authority. Major contributors included The New York Community Trust, The Coca-Cola Company, The Durst Foundation, the May & Samuel Rudin Family Foundation, Leonard Litwin, Bernard Mendik, and Stephen and Judy Gluckstern. Additional donors included Emigrant Savings Bank, Jeffrey Gural, Lester Morse, Richard Schwartz, Michael Bloomberg, Keyspan Energy, Martin Segal, and Earle Mack.
Researchers:
Jerald Albarelli, Ray Allen, Emily Botein, Lori Branston, Kathleen Condon, Martha Cooper, Amanda Dargan, Andrew Davis, Tony DeNonno, Sonia Estreich, Makale Faber, Kwali Farbes, Michael Greene, Laura Hansen, Annie Hauck-Lawson, Marion Jacobson, Denise Lynn, Elena Martinez, Cathy Ragland, Ethel Raim, Henry Sapoznik, Roberta Singer, Les Slater, Scott Spencer, Brian Thompson, Kay Turner, Tom Van Buren, Li Wangsheng, Bill Westerman, Lois Wilken, Steven Zeitlin
Presenters:
Judy Adamson, Ray Allen, Dwight Blocker Bowers, Kathleen Condon, Andrew Davis, James Early, Makale Faber, Juan Flores, Annie Hauck-Lawson, Marion Jacobson, Barbara Kirshenblatt-Gimblett, Wangsheng Li, Elena Martinez, Cathy Ragland, Ethel Raim, Kristin Richard, Henry Sapoznik, Les Slater, Brian Thompson, Kay Turner, Tom Van Buren, Meg Ventrudo, Cynthia Vidaurri, George Zavala, Steve Zeitlin
Participants:
Arts & Artists
Wilfreda "Bio" Feliciano, muralist, Tats Cru
Hector "Nicer" Nazario, muralist, Tats Cru
Sotero "BG 183" Ortiz, muralist, Tats Cru
Gaspar Ingui, neon sign maker
Robbie Ingui, neon sign maker
Theresa Ingui, neon sign maker
Backstage Broadway
Judy Adamson, costume maker, Barbara Matera
Jarred Aswegan, costume maker, Barbara Matera
Gary Brouwer, theatrical milliner
Kimberly Cea, actress
Edie Cowan, director, choreographer
Brian Healy, prop maker, armorer, Costume Armour
Bob Kelly, wig maker, make-up artist
Polly Kinney, costume maker, Barbara Matera
Janice Lorraine, actress
Terry Marone, Gypsy Robe, Actors' Equity
Barbara Matera, costume maker
Nino Novel lino, prop maker, Costume Armour
Peter Ray, prop maker, Costume Armour
Woody Regan, rehearsal pianist
Linda Rice, wig maker, Bob Kelly
Tom Rocco, actor
Tom Schneider, theatrical milliner
Scott Sliger, make-up artist, Bob Kelly
Josephine Spano, costume maker, Barbara Matera
Patricia Sullivan, costume maker, Barbara Matera
Brian Wolfe, prop maker, Costume Armour
Leslie Wolfe, prop maker, Costume Armour
Building Trades
George Andrucki, sheet metal worker, Local 28
Stan Bernstein, sheet metal worker, Local 28
William Bush, water tank builder
Adonis Cegisman, water tank builder
Ryszard Danielewski, water tank builder
John DeGeorge, water tank builder
Robin Delk, sheet metal worker, Local 28
Nicholas Maldarelli, sheet metal worker, Local 28
Leah Rambo, sheet metal worker, Local 28
Andrew Rosenwach, water tank builder
Thomas Schlitz, sheet metal worker, Local 28
George Treanor, sheet metal worker, Local 28
Arthur Tyburski, sheet metal worker, Local 28
Urban Fashion & Garment Industry
Britt Bowers, window display and design, Fashion Institute of Technology
Vanessa Burgos, needle trade worker, Garment Industry Development Corporation
Lidia Carrera, needle trade worker, UNITE! Local 23-25
Esther Cheung, needle trade worker, Garment Industry Development Corporation
Mary Costantini, mannequin sculptor
Linda Dworak, director, Garment Industry Development Corporation
Shiniji Horimura, window display and design, Fashion Institute of Technology
Elizabeth Jacobsen, window display and design, Fashion Institute of Technology
Anne Kong, window display and design, Fashion Institute of Technology
Anne Liu, needle trade worker, Garment Industry Development Corporation
Nicole Mata, window display and design, Fashion Institute of Technology
Adrienne Muken, window display and design, Fashion Institute of Technology
Ana Perez, needle trade worker, Garment Industry Development Corporation
Ramon Roman, window display and design, Fashion Institute of Technology
Isabel Toledo, fashion designer
Ruben Toledo, fashion designer
Monica Williamson, window display and design, Fashion Institute of Technology
May Xian, needle trade worker, Garment Industry Development Corporation
APOLLO THEATRE, AMATEUR NIGHT AT THE APOLLO -- APOLLO THEATRE, AMATEUR NIGHT AT THE APOLLOVanessa Brown, Amateur Night assistantJoseph Gray, lead vocalsJane Harley, Kemet ProductionsMonteria Ivey, hostSteve Jones, production managerC.P. Lacey, The ExecutionerShirley Matthews, coordinating producerMoni-J, hostessDavid Rodriguez, executive director
RAY CHEW & THE CREW -- RAY CHEW & THE CREWRay Chew, musical directorMike Ciro, guitarBobby Douglas, keyboardArtie Reynolds, bassRalph Rolle, drums
CHERISH THE LADIES -- CHERISH THE LADIESSean Conner, step dancerDeirdre Connolly, tin whistle, vocalsMary Coogan, guitar, banjo, mandolinKatie Fox, step dancerDonna Long, piano, fiddleJoanie Madden, director, tin whistle, flute, vocalsPaul McKeown, sound engineerMary Rafferty, accordion, tin whistleMarie Reilly, fiddle
DAVID DAVID -- DAVID DAVIDLauterio Polanco, director, lead vocals, accordionAdriel Espaillat, guieraAdelso Fernandez, bajoKenny Fernandez, tamboraMenecio Martinez, pianoHector Mota, saxophoneFernando Rodreguez, conga
FRISNER AUGUSTIN AND LA TROUPE MAKANDAL -- FRISNER AUGUSTIN AND LA TROUPE MAKANDALFrisner Augustin, 1948-2012, lead drums, vocalsRaymond Charles, third drumSteve Deats, second drumSmith Destin, dancerKethelyne Jean-Louis, dancerKesler Pierre, percussionSandy St. Cyr, dancer
HANGUK: SOUNDS OF KOREA (KOREAN TRADITIONAL PERFORMING ARTS ASSOCIATION) -- HANGUK: SOUNDS OF KOREA (KOREAN TRADITIONAL PERFORMING ARTS ASSOCIATION)Gee Soak Back, percussionHyung Joan Kim, percussionChii-Seung Kwon, percussionJi-Young Park, dancer, percussionSue Yeon Park, dancer, percussionKathy Soh, dancer, percussionMaggie Soh, percussion
LOS AFORTUNADOS -- LOS AFORTUNADOSFelix Sanabria, director, congas, bata, percussionFrancisco Cotto, bassPedro Domeich, dancer, vocalsAlbert Lusink, trumpetAbraham Rodriguez, vocals, percussionMichael Rodriguez, percussionBrandon Rosser, percussionSusan Richardson Sanabria, dancerAdam Tully, tres guitar
LOS MACONDOS -- LOS MACONDOSJorge L. Marquez, bajoEugenio R. Ortega, accordion, lead vocalsJuan A. Ortega, caja vallenata, vocalsDavid Pacheco, timbalesGuillermo E. Penate, guieroMario A. Rodriguez, congas
LOS PLENEROS DE LA 21 -- LOS PLENEROS DE LA 21Juan J. Gutierrez, leader, tamboreroAlberto Cepeda, güiro, tamboreroRoberto Cepeda, vocals, bailador de bomba, güiro, maraca, tamboreroJose Lantigua, keyboardHector Matos, vocals, tamboreroEdgardo Miranda, cuatroDonald Nicks, bassJose Rivera, vocals, tamboreroDomingo Tanco, vocalsNellie Tanco, vocals, bailadora de bomba, tamboreraVictor Velez, vocals, tamborero
MUKTHAMBAR FINE ARTS, INC. -- MUKTHAMBAR FINE ARTS, INC.A. Balaskandan, violinBala Ganesh, mrudangist (Asian Indian drum)Aarati Ramanand, dancerSaavitri Ramanand, vocals
MUSIC FROM CHINA -- MUSIC FROM CHINASusan Cheng, director, daruanChung Bun Chiu, percussionWai Wah Law, vocalsGao Renyang, dizi, xiaoGuowei Wang, erhu, zhong hu, daohuTienjou Wang, gou hu, zhong huHerman Wong, concert managerMin Xiaofen, pipaHelen Yee, yang qinYing Ying Zhu, vocals
SAU FAMILY ORCHESTRA -- SAU FAMILY ORCHESTRAZoran Muncan, keyboardErnie Sau, button accordionMichael Sau, button accordionVinnie Sau, violin
SHASHMAQAM BUKHARAN JEWISH CULTURAL GROUP -- SHASHMAQAM BUKHARAN JEWISH CULTURAL GROUPAbokhay Aminov, vocals, doyra (drum)Tavriz Aronova, ensemble memberDavid Davidov, tarFiruza Junatan, dancerShumiel Kuyenov, doyra (drum)Boris Kuknariyev, accordionIzro Malakov, vocals
SIMON SHAHEEN & QANTARA -- SIMON SHAHEEN & QANTARASimon Shaheen, director, oud, violinOlga Chirino, keyboardsBilly Drewes, soprano saxJamie Haddad, world percussionFrancois Moutin, contrabassAdam Rogers, acoustic and electric guitarBassam Saba, flute, naiLuis Santiago, Latin percussionNajib Shaheen, oudSteve Sheehan, world percussionSoraya, vocalsMartin Zarzar, world percussion
SON MUNDANO -- SON MUNDANOBobby Allende, bongosJimmy Bosch, 1962-, tromboneNelson Gonzalez, Cuban tresNelson Gonzalez, Jr., lead vocalsOscar Hernandez, electric pianoRene Lopez, Jr., congasLuis Rosa, vocalsJoe Santiago, upright bass
VISION BAND
X-ECUTIONERS -- X-ECUTIONERSD.J. AngolaTotal EclipsePeter KangRoc RaiderMista SinistaRob Swift
Neighborhood & Community Life -- Neighborhood & Community LifeLori Brandston, urban sports and gamesSam Chwat, speech therapist, dialect coachMichael E. Clark, Citizens Committee for New York CitySonia Estreich, Citizens Committee for New York CityMichael Greene, urban sports and gamesLaura Hansen, Place Matters, Municipal Art SocietyRoberta Jones, storytellerJessica Katz, Citizens Committee for New York CityAnnie Lanzilloto, storyteller, performance artistMoe Maloney, community activist, "Mayor of Windsor Terrace"Rosalyn Perry, storytellerLiz Sevcenko, Memory Map, Lower East Side Tenement Museum
Charles Sachs, Sr., curator, New York Transit Museum
Gabrielle Shubert, director, New York Transit Museum
Mark Watson, New York Transit Museum
Wall Street
Richard Anderson, Jr., stock market investor, speaker
Richard Anderson, Sr., stock market investor, analyst
Richard Baratz, caricaturist, stock certificate engraver, American Bank Note Company
Madeline Boyd, trader, New York Stock Exchange
Victoria Chukwuka, New York Metro Coordinator, Stock Market Game
Joseph Cicchetti, trader, New York Mercantile Exchange
Anthony DeMarco, trader, New York Board of Trade
Joe Gabriel, engineer, plant manager, New York Stock Exchange
Michael Geoghan, clerk, New York Mercantile Exchange
John E. Herzog, founder, Museum of American Financial History
Scott Hess, trader, New York Mercantile Exchange
Myron Kandel, senior financial editor, CNN
Michael LaBranche, specialist, New York Stock Exchange
Gary Lapayover, trader, New York Mercantile Exchange
Michel Mark, New York Mercantile Exchange
Mark Tomasko, financial printer, engraving historian
Nancy Norton Tomasko, financial printer
Steve Wheeler, archivist, New York Stock Exchange
Jason Zweig, columnist, -- Money -- Magazine
Generations: a centennial tribute to Margaret Mead
THE FLOWERS FAMILY SINGERS -- THE FLOWERS FAMILY SINGERSRev. James N. Flowers, Jr., director, vocals, Ft. Washington, MarylandAnthony Flowers, vocals, keyboard, Seat Pleasant, MarylandYolanda Flowers, vocals, Capital Heights, MarylandMarie Hickson, vocals, Capital Heights, MarylandDorothy McDowell, vocals, Upper Marlboro, MarylandMargie Pickett, vocals, Landover, MarylandErma Reed, vocals, Landover, MarylandMildred Scruggs, vocals, Capital Heights, Maryland
WALKER CALHOUN AND THE RAVEN ROCK DANCERS -- WALKER CALHOUN AND THE RAVEN ROCK DANCERSWalker Calhoun, director, vocals, drum, rattle, Cherokee, North CarolinaAndrew Calhoun, dancer, Cherokee, North CarolinaJennifer Calhoun, dancer, Cherokee, North CarolinaChris Mahan, dancer, Cherokee, North CarolinaVelma Mahan, dancer, Cherokee, North CarolinaDelana Smith, dancer, Cherokee, North CarolinaPatrick Smith, dancer, vocals, Cherokee, North Carolina
THE SAU FAMILY ORCHESTRA, RIDGEWOOD, QUEENS, NEW YORK -- THE SAU FAMILY ORCHESTRA, RIDGEWOOD, QUEENS, NEW YORKZoran Muncan, keyboard, Ridgewood, Queens, New YorkAksenti Sau, piano accordion, Ridgewood, Queens, New YorkErnie Sau, button accordion, Ridgewood, Queens, New YorkMichael Sau, button accordion, Ridgewood, Queens, New YorkNikica Sau, keyboard, Ridgewood, Queens, New YorkVinnie Sau, violin, Ridgewood, Queens, New York
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The fourth annual Ralph Rinzler Memorial Concert featured the revival of interest in klezmer music, traditional instrumental music of the Jews of Eastern Europe. Heavily influenced by the existing folk genres in the area - e.g., Romanian, Russian, Polish, Ukrainian, Hungarian, Bulgarian, Gypsy - and traditional Jewish cantillation, klezmer was filtered through Jewish ears and consciousness. Immigrant klezmer musicians who came from Eastern Europe to America during the early 20th century found a ready market for their skills. Many large American cities had Jewish neighborhoods filled with large young families. Yiddish was spoken by the vast majority. The newly arrived klezmorim found work using the old repertoire at weddings, society, labor union, and synagogue functions. Those adept at reading music could also find employment in Yiddish theaters. American-born musicians began to perform klezmer music in the mid-1920s.
After 1960, however, klezmer music became dormant, awaiting rediscovery and revitalization through the efforts of the dedicated scholars and performers of the klezmer revival. Many of the revivalists, such as those who were featured in the Rinzler Concert, returned to Jewish music after serious careers in Anglo American old time music. They have redefined the old music, lending a patina of artistry to the old, once-derogatory term klezmer, that had conjured up the image of a musical simpleton only capable of playing old Yiddish tunes poorly.
The 1998 Festival also celebrated Folkways at 50 through a series of concerts. Folkways Records was a touchstone of the early folk music revival through its support of many influential artists and its participation in many events. Its founder Moses Asch housed Sing Out! magazine during its early years; he recorded at the Newport Folk Festival; he published the recordings of generations of researchers and scholars - including some such as Ralph Rinzler who would eventually have a major influence on the Smithsonian Folklife Festival. Moreover, the philosophies of Folkways and the Folklife Festival were similar: to celebrate cultural diversity and human artistry; to provide an educational framework through which to understand cultural manifestations; and to encourage people to delve as deeply as they wish into the subject matter by providing substantial supplemental material - liner notes in the case of Folkways and program books and sign panels in the case of the Folklife Festival. Three 50th anniversary concerts included:
Children's Matinee
Music for children was one of the most influential parts of Folkways Records - many people heard their first Folkways record in a classroom. Moses Asch thought children should be exposed to good, authentic music from many cultural traditions. This concert celebrated not only the contributions of musicians who perform for children but the creativity of children themselves.
Folkways Founders/U.S. Postal Service Folk Musicians Stamp Concert
In 1998 the U.S. Postal Service issued a stamp series commemorating four important figures in the folk music revival of the 1950s and 1960s: Lead Belly, Woody Guthrie, Sonny Terry, and Josh White. All four artists recorded for Moses Asch. To honor these men who played prominent roles in both Folkways and 20th-century American music, musicians whose styles have been strongly influenced by them performed at an evening concert.
Heartbeat: Voices of First Nations Women Concert
Because most traditional Native women's music is performed in private settings - in their homes or during tribal ceremonies - very little of this music has been heard outside the women's own communities. Some of the artists featured on a new Smithsonian Folkways recording of Native women's music were featured in a concert that celebrated both the release of the album (itself an outgrowth of a 1995 Festival program) and the half-century that Folkways Records and Smithsonian Folkways Recordings had been introducing wider audiences to community-based music.
Henry Sapoznik was Curator of the Ralph Rinzler Memorial Concert, and Kate Rinzler was Coordinator. For the children's matinee and Folkways Founders concerts, Anthony Seeger and Amy Horowitz were Curators and Ivy Young was Coordinator. For Heartbeat: Voices of First Nations Women, Howard Bass and Rayna Green were Curators.
The Ralph Rinzler Memorial Concert was made possible with support from The Recording Industries Music Performance Trust Funds, the Ruth Mott Fund, Friends of the Festival, and Kate Rinzler. Support for Folkways at 50 came from BMI (the American performance rights organization), the United States Postal Service, M.A.C.E. (Mississippi Action for Community Education), Global Arts/Media Foundation, P.A.C.E.R.S. (Program for Academic and Cultural Enhancement of Rural Schools) Small Schools Cooperative & Community Celebration of Place Project, KOCH International, Smithsonian Magazine, Smithsonian Institution National Museum of American History, TRO, The Richmond Organization, Columbia Records and Sony Music Entertainment, Michael Asch, Walter Beebe and the New York Open Center, Andrew Dapuzzo and Disctronics, David Glasser, Charlie Pilzer, and Airshow Mastering, Inc., Judith DeMaris Hearn, Ella Jenkins, Richard Kurin, Mark Miller and Queens Group, Inc., Microsoft Corporation/Media Acquisitions Department, Arnold L. Polinger, Razor & Tie Entertainment, and The Recording Industries Music Performance Trust Funds.
Participants:
Folkways at 50 Anniversary Concerts
Children's Matinee
Ella Jenkins, Chicago, Illinois
Larry Long, Minneapolis, Minnesota
Slater Huff, Packers Bend, Alabama
CHILDREN FROM MONROE HIGH SCHOOL, PACKERS BEND, ALABAMA -- CHILDREN FROM MONROE HIGH SCHOOL, PACKERS BEND, ALABAMAAngel Carstarphen, Packers Bend, AlabamaLaKecia Carstarphen, Packers Bend, AlabamaPaulette Carstarphen, Packers Bend, AlabamaAdrienn Cheeseboro, Packers Bend, AlabamaKimberly Cheeseboro, Packers Bend, AlabamaLatonya Cheeseboro, Packers Bend, AlabamaYshika Cheeseboro, Packers Bend, AlabamaRapheal Davis, Packers Bend, AlabamaDomoneek McCoy, Packers Bend, AlabamaTromesha Packer, Packers Bend, AlabamaBryant Timmons, Packers Bend, AlabamaPatricia Tunstall, Packers Bend, Alabama
CHILDREN FROM T.W. MARTIN HIGH SCHOOL, GOODSPRINGS, ALABAMA -- CHILDREN FROM T.W. MARTIN HIGH SCHOOL, GOODSPRINGS, ALABAMAShawn Bromley, Goodsprings, AlabamaCourtney Dotson, Goodsprings, AlabamaJon Dotson, Goodsprings, AlabamaStephanie Hicks, Goodsprings, AlabamaRyan Logan, Goodsprings, AlabamaBrandon Morris, Goodsprings, AlabamaJada Parker, Goodsprings, AlabamaCameo Raney, Goodsprings, AlabamaBrandon Reynolds, Goodsprings, AlabamaJosh Salter, Goodsprings, AlabamaLandon Waid, Goodsprings, AlabamaSabrina Williams, Goodsprings, Alabama
Folkways Founders, U.S. Postal Service Folk Musicians Stamp Concert
Arlo Guthrie, Housatonic, Massachusetts
Abe Guthrie, Housatonic, Massachusetts
Annie Guthrie, Housatonic, Massachusetts
Cathy Guthrie, Housatonic, Massachusetts
Sarah Guthrie, Housatonic, Massachusetts
Toshi Reagon, Brooklyn, New York
Josh White, Jr., Detroit, Michigan
THE WILLIE FOSTER BLUES BAND -- THE WILLIE FOSTER BLUES BANDWillie Foster, 1922-, Greenville, MississippiJohn Horton, III, Greenville, MississippiRoosevelt Rogers, Greenville, MississippiRichard E. Taliaferro, Greenville, MississippiLarry Wright, Leland, Mississippi
Heartbeat: Voices of First Nations Women Concert
Sharon Burch, Santa Rosa, California
Cedric Goodhouse, Fort Yates, North Dakota
Sissy Goodhouse, Fort Yates, North Dakota
Christina Gonzalez, Schurz, Nevada
Delgadina Gonzalez, Schurz, Nevada
JOY HARJO AND POETIC JUSTICE -- JOY HARJO AND POETIC JUSTICECharlie Baca, Albuquerque, New MexicoRichard Carbajal, Phoenix, ArizonaJoy Harjo, Hollywood, CaliforniaDerek James, Los Angeles, CaliforniaJohn Williams, Albuquerque, New MexicoSusan Williams, Albuquerque, New Mexico
Judy Trejo, Wadsworth, Nevada
TZO'KAM -- TZO'KAMJoyce Fossella, Vancouver, British Columbia, CanadaJudy Lemke, North Vancouver, British Columbia, CanadaIrma Rabang, Sumner, WashingtonMaria Stiglich, Langley, British Columbia, CanadaFreda Wallace, Vancouver, British Columbia, CanadaFlora Wallace, Vancouver, British Columbia, CanadaRussell Wallace, North Vancouver, British Columbia, Canada
Mary Youngblood, Sacramento, California
Ralph Rinzler Memorial Concert
Sid Beckerman, clarinet
Lauren Brody, accordion, piano, vocals
Steven Greenman, violin
Margot Leverett, clarinet, saxophone
Paul Pincus, tenor saxophone
Mark Rubin, bass, tuba
Henry Sapoznik, banjo, vocal, producer, director
Peter Sokolow, keyboard, vocal, musical director
Michael Spielzinger, drums
Steven Weintraub, dance instructor
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1998 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Lithuanian Fieldwork: Veronika Povilioniene – Lithuanian vocal music. Spoken words in unidentified language. Written material accompanies tape.
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
Type:
Archival materials
Sound recordings
Date:
1988
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (compact audio cassette)
Type:
Archival materials
Sound recordings
Date:
1988
Collection Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1988 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Festival Recordings: French Music Stage: French Instrumental and Vocal Music; Bagpipe Workshop
Creator:
Smithsonian Institution. Festival of American Folklife. French/French-American Program 1983 Washington, D.C. Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (sound tape reel, 7 inch reel, 1/4 inch tape)
sound-tape reel (analog, 7 in.)
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1983 July 01
Local Numbers:
FP-1983-7RR-0243
Publication, Distribution, Etc. (Imprint):
United States French/French-American Program 1983
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 1, 1983.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 1983 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
