Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original caption reads, "Native dances on the Mines. Zulu war dance"
General:
Title source: Postcard caption.
Local Numbers:
EEPA 1995-30-41
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Please contact the archives for information on the availability of access copies of audiovisual recordings. Original audiovisual material in the National Anthropological Archives is restricted.
Series Rights:
The National Anthropological Archives does not hold copyright to the films in this collection.
Collection Citation:
Terence Turner papers, National Anthropological Archives, Smithsonian Institution
Sponsor:
Funding for the processing of this collection was provided by the Wenner-Gren Foundation.
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: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Field recording by Claude Medford of Natchitoches, Louisiana.
MPM tape 10 includes: 1. Snake Dance (a capella); 2. House dance (violin, guitar, Choctaw version of quadrille); 3. House Dance (violin, guitar); 4. Jump Dance (a capella, men only); 5. Walk Dance (a capella, men and women); 6. Stealing Partners (a capella, men and women); 7. Jump Dance; 8. Drunken Man Dance, by Chouteu (a capella solo); 9. Turtle Dance (claves, men only); 10. Fast War Dance, by chanter (claves); 11. 'Four Step' War Dance, by chanter (claves); 12. Quail Dance (claves, men and women, counterpoint we ha yo yo by men only); 13. Friendship Dance (a capella); 14. Wedding Dance (claves, men and women); 15. Duck Dance (claves, men and women, quacking by dancers). Side Two. 1. Raccoon Dance (no claves, men and women); 2. Snake Dance (no claves, men and women). Note: This is tape 2 of 2 tapes. The other tape is unnumbered. See Howard Sound Recording 14.
Local Numbers:
Howard Sound Recording 10
Funding note:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Collection Restrictions:
The James Henri Howard papers are open for research.
Access to the James Henri Howard papers requires an appointment.
Field recording by Claude Medford of Natchitoches, Louisiana.
Side One. 1. Mosquito dance or Raccoon dance (sung twice); 2. War dance (claves, bells); 3. Quail dance (claves, bells); 4. Duck dance (claves, bells); 5. Turtle dance (claves, bells); 6. Jump dance (bells); 7. Jump dance (bells); 8. Double Header (Hita Falams, bells); 9. Drunk Dance (bells); 10. Drunk Dance (bells); 11. Night Walk dance (a capella); 12. Snake dance (a capella). Side Two. 1. Creek Seminole type 'Crazy' or Stomp dance; 2. Creek Seminole type 'Crazy' or Stomp dance; 3. Creek Seminole type 'Crazy' or Stomp dance; 4. Creek Seminole type 'Crazy' or Stomp dance; 5. Creek Seminole type 'Crazy' or Stomp dance; 6. Creek Seminole Four-corner dance; 7. Four time stop dance; 8. Four time stop dance (claves, women singing); 9. Slow Jump dance; 10. Sunrise Walk dance (a capella); 11. Stealing Partners; 12. Jump dance (a capella); 13. Oval dance (no claves, male chanter solo); 14. Turtle dance (claves); 15. Mosquito dance (claves); 16. Duck dance (claves); 17. Raccoon dance (claves). Note: This is tape one of two tapes. See Howard Sound Recording 10.
Local Numbers:
Howard Sound Recording 14
Funding note:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Collection Restrictions:
The James Henri Howard papers are open for research.
Access to the James Henri Howard papers requires an appointment.
Singers: Adam Sampson, Ardis Mose, and Bienum Pickins. This is a published recording and is not available online.
MPM tape 6 includes: Choctaw Chickasaw Dance Songs from the Chocktaw-Chickasaw Heritage committee (Chairman: Buster Ned). Side One. 1. Jump Dance, by Adam Sampson; 2. Jump Dance, by Adam Sampson; 3. Tick or Walk Dance, by Adam Sampson; 4. Drunken Man Dance, by Ardis Mose. Side Two. 1. Garfish or Hard Fish Dance (Chickasaw Dance), by Bienum Pickins; 2. Drum or War Dance, by Ardis Mose; 3. Duck Dance, by Adam Simpson; 4. Snake Dance, by Adam Simpson.
Local Numbers:
Howard Sound Recording 6
Funding note:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Collection Restrictions:
The James Henri Howard papers are open for research.
Access to the James Henri Howard papers requires an appointment.
Singers: Adam Sampson, Ardis Mose, and Bienum Pickins. This is a published recording and is not available online.
MPM tape 7 includes: Choctaw Chickasaw Dance Songs (volume two) from the Chocktaw-Chickasaw Heritage committee (Chairman: Buster Ned). Side One. 1. Jump Dance; 2. Doublehead Dance; 3. Stealing Partners; 4. Drunken Man Dance. Side Two. 1. Drunken Man Dance; 2. Drum or War Dance; 3. Drum or War Dance; 4. Memorial Song (Palata).
Local Numbers:
Howard Sound Recording 7
Funding note:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Collection Restrictions:
The James Henri Howard papers are open for research.
Access to the James Henri Howard papers requires an appointment.
MPM tape 12: 1. Skeleton Dance Song. 2. Story in Delaware with explanationin English: how church lasts for 12 nights and ceremonies. 3. Story in Delaware with explanation in English: Big House Ceremony, False Face. 4. War Dance Songs.
Local Numbers:
Howard Sound Recording 12
Funding note:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Collection Restrictions:
The James Henri Howard papers are open for research.
Access to the James Henri Howard papers requires an appointment.
Singers: Prentis Jackson, Ida May Frazier, Henry Joe, and Ouie Joe; Recorded at the Bogue Chitto School, near Philadelphia, Miss.
1. Raccoon dance, by Prentis Jackson and Ida May Frazier; 2. Tick or Walk Dance, by Prentis Jackson and Ida May Frazier; 3. Stealing Partners Dance, by Prentis Jackson and Ida May Frazier; 4. Jump Dance, by Henry Joe and Ouie Joe; 5. Tick or Walk Dance, by Henry Joe and Ouie Joe; 6. Drunken Man Dance, by Henry Joe and Ouie Joe; 7. Drunken Man Dance, by Henry Joe and Ouie Joe; 8. War Dance, by Henry Joe and Ouie Joe; 9. Starting Dance, by Henry Joe and Ouie Joe; 10. Jump Dance, by Henry Joe and Ouie Joe; 11. Snake Dance, by Henry Joe and Ouie Joe; 12. Tick or Walk Dance, by Henry Joe and Ouie Joe; 13. Turtle Dance, by Henry Joe and Ouie Joe. This is labeled tape 2. It probably goes with Howard Sound Recording 9.
Local Numbers:
Howard Sound Recording 15
Date/Time and Place of an Event Note:
Recorded at Bogue Chitto School near Philadelphia, Mississippi
Funding note:
Digitization and preparation of these materials for online access has been funded through generous support from the Arcadia Fund.
Collection Restrictions:
The James Henri Howard papers are open for research.
Access to the James Henri Howard papers requires an appointment.
Gabrielino + Serrano -- Music, Songs -- Dance, War Search this
Type:
Archival materials
Sound recordings
Date:
JAN 1933
Local Numbers:
NAA INV.00001074
Local Note:
Cylinder Note:JPH Field Notes
SAHOOVET MEANS WAR DANCE; SEE GAB 0011-0023, 0028, 0029
Wax cylinder
Other Title:
J-3 Haypa (Serrano) (Gabrielino)
J-4 Moomnga Noo Yakeenaa, Sahoovet Song (Gabrielino)
J-5 Pohawii Hawii Maaneta, Sahoovet Song Composed by Victoriano
Place:
California
Collection Restrictions:
The John Peabody Harrington papers are open for research.
Access to the John Peabody Harrington papers requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation Search this
Genre/Form:
Sound recordings
Collection Citation:
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
John Peabody Harrington papers, National Anthropological Archives, Smithsonian Institution
The preferred citation for the Harrington Papers will reference the actual location within the collection, i.e. Box 172, Alaska/Northwest Coast, Papers of John Peabody Harrington, National Anthropological Archives, Smithsonian Institution.
However, as the NAA understands the need to cite phrases or vocabulary on specific pages, a citation referencing the microfilmed papers is acceptable. Please note that the page numbering of the PDF version of the Harrington microfilm does not directly correlate to the analog microfilm frame numbers. If it is necessary to cite the microfilmed papers, please refer to the specific page number of the PDF version, as in: Papers of John Peabody Harrington, Microfilm: MF 7, R34 page 42.
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Collection Title, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
The papers of painter Andrew Dasburg and his wife and sculptor Grace Mott Johnson date from 1833 to 1980 (bulk 1900 to 1980), and measure 8.8 linear feet. The collection documents each artist's career and personal lives, including their brief marriage and their friendships with many notable artists in the New Mexico and New York art colonies during the early twentieth century. The papers of Dasburg (6 linear feet) and Johnson (2.8 linear feet) include biographical materials; extensive correspondence with family, friends, and fellow artists, such as John F. Carlson, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, and Ward Lockwood; writings by Dasburg, Johnson, and others; scattered legal, financial, and business records; clippings; exhibition materials; numerous photographs of Johnson and Dasburg, friends, family, and artwork; and original artwork, including two sketchbooks by Johnson.
Scope and Content Note:
The papers of painter Andrew Dasburg and sculptor Grace Mott Johnson date from 1833 to 1980, with the bulk of the materials dating from 1900 to 1980, and measure 8.8 linear feet. The collection is divided into the papers of Andrew Dasburg (6 linear feet) and the papers of Grace Mott Johnson (2.8 linear feet), and documents each artist's career and personal lives, including their brief marriage, and friendships with many notable artists in New Mexico and New York art colonies during the early twentieth century. Found are scattered biographical, legal, and financial materials. Extensive correspondence (particularly in Dasburg's papers) is with family, friends, and fellow artists, such as John F. Carlson, Florence Ballin Cramer, Mabel Dodge Luhan, Marsden Hartley, Henry Lee McFee, Vera Spier Kuhn, and Ward Lockwood. Dasburg's papers also include letters to Johnson and his two later wives.
Johnson's correspondence is also with numerous artist friends and others, including John F. and Margaret Carlson, Florence Ballin Cramer, Jo Davidson, Florence Lucius, Walter Frankl, Lila Wheelock Howard, Henry Lee McFee, Mary Riley, Lee Simonson, Lindsey Morris Sterling, Alice Morgan Wright, Mabel Dodge Luhan, and Vera Spier Kuhn. Letters to her son Alfred are quite detailed and revealing. Writings are by Dasburg, Johnson, and others. Johnson's writings include a very brief diary and her poetry. Writings by others are about the Taos and New Mexico art communities. Printed materials about both artists include clippings and exhibition catalogs. There are numerous photographs of Dasburg and Johnson, individually and together, and with friends and family. Of note are a group photograph of Birge Harrison's art class in Woodstock, New York, which includes Johnson and Dasburg, and a photograph of Dasburg with friends Konrad Cramer and John Reed. Dasburg's papers also include snapshots of Florence Lucius, Konrad and Florence Ballin Cramer, Frieda and D. H. Lawrence, and Mabel Dodge Luhan. Original artwork by the two artists include two sketchbooks by Johnson and three prints and two drawings by Dasburg.
Arrangement:
The collection is arranged into 2 series of each artist's papers:
Missing Title
Series 1: Andrew Dasburg Papers, circa 1900-1980 (Box 1-7; 6.0 linear feet)
Series 2: Grace Mott Johnson Papers, 1833-1963 (Box 7-10; 2.8 linear feet)
Biographical Note:
Andrew Michael Dasburg (1887-1979) was born in Paris, France, to German parents. After his father died and when he was five, Dasburg and his mother moved to New York City. In 1902 Dasburg started attending classes at the Art Students' League and studied with Kenyon Cox and Frank Du Mond. He also took night classes with Robert Henri. In 1907 he received a scholarship to the Art Students' League summer school in Woodstock, New York and spent three summers studying there in Birge Harrison's painting class. While in school he became friends with many young artists, including Morgan Russell and his future wife, Grace Mott Johnson.
Grace Mott Johnson (1882-1967) was born in New York City. She began drawing when she was four years old, and when the family moved to a farm in 1900 she enjoyed sketching horses and other farm animals. At the age of 22 she left home to study at the Art Students' League with sculptors Gutzon Borglum and James Earle Fraser, and also attended Birge Harrison's painting class in Woodstock. Throughout her career she would sculpt animals from memory, and would often attend circuses and farms for inspiration.
In 1909 Johnson and Dasburg went to Paris and joined the modernist circle of artists living there, including Morgan Russell, Jo Davidson, and Arthur Lee. During a trip to London that same year they were married. Johnson returned to the United States early the next year, but Dasburg stayed in Paris where he met Henri Matisse, Gertrude and Leo Stein, and became influenced by the paintings of Cezanne and Cubism. He returned to Woodstock, New York in August and he and Johnson became active members of the artist community. In 1911 their son Alfred was born. Both Dasburg and Johnson showed several works at the legendary Armory Show in 1913, and Dasburg also showed at the MacDowell Club in New York City, where he met the journalist and activist John Reed who later introduced him to Mabel Dodge (Luhan), a wealthy art patron and lifelong friend. In 1914 Dasburg met Alfred Stieglitz and became part of his avant-garde circle. Using what he had seen in Paris, Dasburg became one of the earliest American cubist artists, and also experimented with abstraction in his paintings.
Dasburg and Johnson lived apart for most of their marriage. By 1917 they had separated and Dasburg began teaching painting in Woodstock and in New York City. In 1918 he was invited to Taos, New Mexico by Mabel Dodge, and returning in 1919, Johnson joined him there for a period of time. Also in 1919, Dasburg was one of the founding members of the Woodstock Artists Association with John F. Carlson, Frank Swift Chase, Carl Eric Lindin, and Henry Lee McFee. In 1922 Dasburg and Johnson divorced, and also at that time he began living most of the year in Santa Fe with Ida Rauh, spending the rest of the year in Woodstock and New York City. Dasburg became an active member of the Santa Fe and the Taos art colonies, befriending many artists and writers living in these communities, and remaining close friends with Mabel Dodge Luhan. Here he moved away from abstraction, and used the southwestern landscape as the inspiration for his paintings.
In 1928 he married Nancy Lane. When that marriage ended in 1932, he moved permanently to Taos, and with his third wife, Marina Wister, built a home and studio there. Dasburg periodically taught art privately and at the University of New Mexico. In 1937 he was diagnosed with Addison's disease, which left him unable to paint again until 1946. In 1945 he and his wife Marina separated. Dasburg was recognized for his career as an artist in a circulating retrospective organized by the American Federation of Arts in 1959. He also had retrospectives in Taos in 1966 and 1978. His artwork influence several generations of artists, especially in the southwest, and he continued creating art until his death in 1979 at the age of 92.
Grace Mott Johnson lived in the Johnson family home in Yonkers, New York during the 1920s and later moved to Pleasantville, New York. In 1924 she went to Egypt to study ancient Egyptian sculpture. During the 1930s she became a civil rights activist. She produced very little art during the last twenty years of her life.
Related Material:
Also found in the Archives of American Art are two oral history interviews with Andrew Dasburg, July 2, 1964 and March 6, 1974. Additional related collections at other repositories include the Andrew and Marina Wister Dasburg Papers at the New Mexico State Archives, the Andrew Dasburg Papers at Syracuse University Library, and the Grace Mott Johnson Papers at the Beinecke Rare Book and Manuscript Library, Yale University.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 2803 contains photocopies of ten Morgan Russell letters to Dasburg. Reels 4276-4278 include biographical material, subject files, photographs, correspondence, writings, and exhibition material. The photocopies on reel 2803 were discarded after microfilming, and the items on 4276-4278 were returned to the lender. This material is not described in the collection container inventory.
Provenance:
The Andrew Dasburg and Grace Mott Johnson papers were donated by their son, Alfred Dasburg, in 1980. Syracuse Univresity lent materials for microfilming in 1978 and 1989.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
