Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details..
Series Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details..
Series Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details..
Series Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Narration for the self guided tour for the exhibition 'Inspiration 1961-1989,' which featured works of art by the District of Columbia Art Association (DCAA).
Audio Tour. Audio only. Related to exhibition 'Inspiration: 1961-1989.' Dated 19881211.
Biographical / Historical:
Inspiration: 1961-1989 celebrated twenty-eight years of the District of Columbia Art Association's (DCAA) existence and productivity of services to the arts in the Washington metropolitan area. Exhibiting artists include Erlena Chisolm Bland, Wallace X. Conway, Richard W. Dempsey, William Dorsey, Gloria Freeman, Leroy Gaskin, Sylvia Moore Jackson, Jeanne Coleman Jarvis, Lois Mailou Jones, Edith I. Martin, Charles E. Mitchell, Georgette Seabrooke Powell, Alma Thomas, Larry Erskine Thomas, James Lesesne Wells, and Sandra Brashears Williams. The exhibition was held at the Anacostia Museum from January 15, 1989 - March 5, 1989.
Collection Restrictions:
Use of materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
21.6 Cubic feet (consisting of 17 cartons, 2 oversized boxes.)
Type:
Collection descriptions
Archival materials
Transcripts
Color slides
Exhibition records
Exhibit scripts
Contact sheets
Photographic prints
Correspondence
Place:
Washington Metropolitan Area
Date:
1942-1998
Summary:
These records document the planning, organizing, execution, and promotion of an exhibition exploring the immigration of people of African descent from Central and South America and the Caribbean to the Washington Metropolitan Area. The show was organized and hosted by the Anacostia Museum from August 21, 1994 through August 7, 1995. Materials include correspondence, research files, exhibit script, administrative records, brochures, press coverage, education packets, loan agreements, floor plans, and catalogues.
Scope and Contents:
The records of the Black Mosaic exhibition presented by the Anacostia Community Museum measure 21.6 cubic feet and date from 1942 to 1998, with the bulk of material dating from 1990 to 1995. The records include administrative records, publications, research files, floor plans, exhibit text drafts, oral history transcripts, and project files for programs coordinated for or tangentially with the Black Mosaic Exhibit.
Administrative records include advisory board member lists, meeting minutes, agendas, grant proposals, project reports and assessments, correspondence, training material for museum volunteers and docents, and assorted notes. Publications within the series directly relate to the Black Mosaic Exhibit and the Anacostia Community Museum. Correspondence includes both internal correspondence and those with local community members.
Writings and notes were previously scattered throughout the collection have been collocated within the Administrative Records series, and a majority are undated. The notes cover topics ranging from administrative activities to exhibit and research planning. Included are printed documents, scrap paper, and spiral-bound notebooks.
The research files contain background information about numerous immigrant communities within Washington D.C. The community research files were originally organized by country, continent, or region of origin, and then later by subjects that coordinated with the exhibit's designated themes. This organization method has largely been maintained. Research files include scholarly articles, news clippings, event programs, compiled bibliographies, and material related to the study of museology.
The exhibit files include floor plan layouts, photocopies of images, interview transcripts, exhibit literature, and extensive exhibit text drafts. Drafts of the exhibit's text include notes throughout multiple editing stages. Additionally, copies of flip books for different thematic sections of the Black Mosaic exhibit are included and are organized alphabetically by title. Other exhibit literature present is primarily in English with one French copy present.
The project files include training material for collecting oral histories and documenting community folklife, conference records, event records, and records pertaining to related projects at the Anacostia Community Museum. Concurrent projects supporting the exhibit include the Black Mosaic community newsletter and an educational curriculum project. Additional project records that thematically overlap with the Black Mosaic exhibit but extend beyond the timeframe of the formal exhibit are present also.
Arrangement:
Black Mosaic: Community, Race, and Ethnicity among Black Immigrants in Washington, D.C. exhibition records are arranged in four series:
Series 1: Administrative Records
Series 2: Research Files
Series 3: Exhibit Files
Series 4: Project Files
Historical Note:
The exhibit Black Mosaic: Community, Race, and Ethnicity among Black Immigrants in Washington, D.C. was curated by the Anacostia Community Museum's supervisory curator Portia James, and was open at the Anacostia Community Museum from August 1994 to August 1995. The exhibition explored the immigration of people of African descent from South America, Central America, and the Caribbean to the Washington Metropolitan Area.
Topics addressed in the exhibition include migration, situations faced by Black immigrants, the maintenance of relationships with places of origin, community events and cultural performances, public and private expressions of culture, commodification of culture for economic support, and the expression of multiple identities. Some intentions of the exhibit were to provide forums for discussing culture and identity, provide resources for people learning about communities in the Washington Metro area, and to be a model to other museums and cultural institutions for understanding and interpreting similar immigration and settlement patterns.
The exhibit was designed to be experienced with broader cultural concepts being introduced towards the external part of the exhibit, while personal stories could be experienced further in. Over 100 oral history interviews featured prominently in the exhibit where interviewed individuals explained their immigration experience and how they've adapted to life in the area. The exhibit also included mounted photographs, artifacts, music, and conversations. Artifacts included passport photos, tickets, family photographs, and letters. The exhibit's text displayed in three languages: English, Spanish, and Haitian Creole. There were additional exhibition guides provided in Brazilian Portuguese, French, and the Ghanaian languages of Ga, Twi, Akan, and Ewe.
Coupled with the exhibit, the museum coordinated an extensive series of programs to engage various communities in the exploration of issues and traditions. These programs included creating newsletters and a photograph exhibit to keep the community up to date about the progression of the exhibit, working with performance groups, creating multi-institutional partnerships in order to develop more effective methods of collecting oral histories, and collaborating and modeling for the CFPCS African Immigrant Communities project.
Provenance:
Records of Black Mosaic: Community, Race, and Ethnicity Among Black Immigrants in Washington, D.C. Exhibition were created by the Anacostia Community Museum.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
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.
Topic:
Immigrants -- United States -- Exhibitions Search this
Black Mosaic: Community, Race, and Ethnicity among Black Immigrants in Washington, D. C. Exhibition Records, Anacostia Community Museum Archives, Smithsonian Institution.
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Institute on Race Relations (Washington, D.C.) Search this
Collection Collector:
Whitehead, Henry P. (Prenton), 1917-2002 Search this
Type:
Archival materials
Letters (correspondence)
Place:
Washington, D.C. -- history
Date:
1944 May 30
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Rights:
The Henry P. Whitehead collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Smithsonian has long counted on Washington area residents as an audience for its many museums and programs. In this first of a planned multi-year program, tables were turned as traditional musicians from local black, Hispanic and Asian American communities told Festival visitors about the social organizations and the multi-cultural urban context within which their aesthetic expressions flourish. Washington, the residential city beyond the national monuments, burgeons with cultures transplanted from beyond urban, state, and national boundaries as well as with hybrid traditions newly rooted in an urban environment. Over the next several years the Office of Folklife Programs intended to explore the fascinating, vital, and variegated pool of cultures that enliven the Washington metropolitan area. The 1987 program gave special emphasis to music among Washington's communities.
Music is a central part of festive occasions and celebrations as well as an integral feature of everyday life. People mark what they feel is distinctive and valuable through the use of music, frequently accompanied by dance and ritual. For instance, various Asian communities of Washington have maintained some of the seasonal ceremonies of their homelands, such as Lao or Chinese New Year's celebrations. These elaborate and colorful ceremonial events incorporate music, costumes, parades, food, and dance and draw community members from the entire eastern seaboard.
African American gospel music thrives in a variety of forms in Washington, ranging from the harmonies of traditional quartet groups to the sounds of more contemporary soloists, ensembles, and choirs, some of which blend classical techniques with more traditional black gospel music. Hundreds of churches support numerous choirs, smaller family groups, and other ensembles and soloists who provide their memberships with gospel music. Gospel music is central to a variety of community events in addition to regular services: for example, pastor, choir, and church anniversary celebrations, as well as funerals are filled with gospel music.
Particularly within Washington's growing Latino community, sharing of traditions has resulted in a synthesis or pan-ethnic style, celebrating a multicultural heritage. In this urban milieu Hispanic, Caribbean, and African musicians constantly create new urban performance forms by drawing fragments from known repertoires and styles and transforming them into new expressions through the use of new harmonies, updated texts, and changes in tempo, rhythmic configurations, or performance style.
Phyllis M. May-Machunda served as Curator of the Metropolitan Washington program and Camila Bryce-Laporte as Assistant Program Coordinator.
The Metropolitan Washington program was made possible in part by the Music Performance Trust Funds, a non-profit organization created by U.S. recording companies to fund live and free performances (Trustee: Martin A. Paulson).
Fieldworkers:
Camila Bryce-Laporte, Arnaé Burton, Olivia Cadaval, Mia Gardener, Richard Kennedy, Michael Licht, Phyllis M. May-Machunda, Daniel Sheehy, Daphne Shuttleworth, Nicholas R. Spitzer, Kazadi wa Mukuna
Presenters:
Arnaé Burton, Kathy Bullock, Alicia María González, Richard Kennedy, David T. Lee, Von Martin, Oscar Ordenes, Daniel Sheehy, Nicholas R. Spitzer, Richard Spottswood, Nap Turner, Kazadi wa Mukuna, Pearl Williams-Jones
Participants:
John Cephas and Phil Wiggins, blues, Washington, D.C.
Choraliers, 1st Baptist Church of Deanwood, gospel, Washington, D.C.
Ollantay, Bolivian urban music, Arlington, Virginia
Potomac Valley Boys, bluegrass, Leesburg, Virginia
Prophecy, gospel, Washington, D.C.
Alberto Rios y sus Paraguayos, Paraguayan music, Washington, D.C.
Ross School, Salvadoran children's games, Washington, D.C.
Rumiñahui, Andean music from Ecuador, Wheaton, Maryland
St. Augustine Gospel Choir, gospel, Washington, D.C.
St. Teresa of Avila Choir, gospel, Washington, D.C.
Sons of Grace, United House of Prayer, gospel, Washington, D.C.
The Sounds of Africa, Zairian urban music, Silver Spring, Maryland
Don Stover, traditional banjo music, Brandywine, Maryland
The Teagle Family, gospel, Laurel, Maryland
Trinidad Steel Band, calypso pan music, Washington, D.C.
Don Vails & the Salvation Corps, gospel, Hyattsville, Maryland
Vision, gospel, Hyattsville, Maryland
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1987 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
What does it mean to be a person of Asian or Pacific Island descent living in the United States today? What are the primary strategies for adaptation and change versus sustainability and continuity? These were the questions underlying the 2010 Festival program.
The Asian Pacific American (APA) population of metropolitan Washington, D.C., provided an excellent cross-section of the national APA community. Moreover, its rapid growth made it a good example of the "global/local" and "preservation/transformation" themes that were celebrated at the 2010 Festival. The large number of federal workers and the location of foreign embassies in the nation's capital have brought APAs here from all fifty states and from all Asian countries. While the majority of APAs are foreign-born, those based in D.C. combine both Asian and American influences into many aspects of their lives.
The Festival program brought together people from diverse communities in the Washington, D.C., area to highlight the breadth of traditions practiced by APA cultures. It emphasized the ways in which APAs make connections not only to each other, but also to the broader communities in which they live, work, and play. Through theater, music, dance, and sports performances; demonstrations of language and calligraphy traditions; martial arts, healing arts, and ritual arts; crafts and foodways presentations; and children's activities, Festival visitors could learn about APA identity, history, and culture, discovering shared and integrated traditions.
The Asian Pacific American program was part of a collaborative research and public presentation project between the Smithsonian Center for Folklife and Cultural Heritage and the Smithsonian Asian Pacific American Program. Partnering with the University of Maryland, local APA communities, and other organizations, the project researched and documented the cultural heritage of Asian Pacific Americans living in and around the capital region. In addition to the Festival program, the Smithsonian preserves collected stories, images, video, and audio clips of traditional APA culture in its archives and on its Web sites.
Phil Tajitsu Nash was Curator and Arlene Reiniger was Program Coordinator.
The program was produced in collaboration with the Smithsonian Institution's Asian Pacific American program. AARP was a Major Donor to the program with additional support from the Office of Hawaiian Affairs, Juanita Tamayo Lott in memory of Robert H. Lott, OCA, Pragmatics Inc., and the Taipei Economic and Cultural Representative Office in the United States.
Presenters:
Gina Inocencio, Terry Liu, Lucy Long, Cliff Murphy, Konrad Ng, Franklin Odo, Mark Puryear, Ang Robinson, Take Toma, Gerald Yamada, Michael Wilpers
Participants:
CRAFT TRADITIONS
Menosh Hashim, Indian American Urdu teacher, Falls Church, Virginia
Hongyi He, Chinese American paper cutter, Astoria, New York
HIRO, Japanese American painter and calligrapher, Alexandria, Virginia
Vu Hoi, Vietnamese American calligrapher, Merrifield, Virginia
Akiko Keene, Japanese American doll maker, Potomac, Maryland
Myoung-Won Kwon, Korean American calligrapher, Silver Spring, Maryland
Mereadani Lomaloma, Fijian American tapa painter, Washington, D.C.
Peni Lomaloma, Fijian American tapa painter, Washington, D.C.
Bertrand Mao, Chinese American calligrapher, Potomac, Maryland
Sushmita Mazumdar, Indian American bookmaker, Arlington, Virginia
Helen Sze McCarthy, Taiwanese American painter, Silver Spring, Maryland
Gankhuyag Natsag, Mongolian American mask maker and calligrapher, Arlington, Virginia
Khin Mg San, Burmese American chinlone master and ball maker
Teresiter Sauler, Fijian American tapa painter, Washington, D.C.
Melissa Mokihana Scalph, Hawaiian lei maker, Alexandria, Virginia
Sala Sucu, Fijian American tapa painter, Washington, D.C.
Sivoni Sucu, Fijian American tapa painter, Washington, D.C.
Sue Tun, Burmese American muralist, Alexandria, Virginia
Paiboon Uthikamporn, Thai American calligrapher, Rockville, Maryland
Debi Velasco, Hawaiian lei maker, Lanham, Maryland
FOODWAYS TRADITIONS
Roohi Ahuja, Sikh
Karuna Baskaran, Bangladeshi American, Sterling, Virginia
Lok Tiwari, Nepalese American, Silver Spring, Maryland
Arnedo "Nedo" Valera, Filipino American, Fairfax, Virginia
Benita Wong, Chinese American, Vienna, Virginia
PERFORMANCE TRADITIONS
Aloha Boys (Hawaiian) -- Aloha Boys (Hawaiian)Glen Hirabayashi, McLean, VirginiaIsaac Ho'opi', McLean, VirginiaIrv Queja, McLean, Virginia
American Bando Association (Burmese American) -- American Bando Association (Burmese American)Dara Brown, Bryan Carr, Sidney Grandison, Richard Gray, Fredericka Prevost, Levron Scuchalter, John Tolbert, André Turner, Duvon Winborne
Bhangra and Giddha: Folk Dances of Punjab
Burma American Buddhist Association
Burmese American Dance -- Burmese American DanceKyaw Tha Hla, Myat Yin Chaw
Cambodian American Heritage Inc. -- Cambodian American Heritage Inc.Solei Becker, Paula Chea, Bonavy Chhim, Juliana Dos, Angela Ea, Laura Kun, Marina Kun, Lynna Lam, Alyssa Lim, Davina Lim, Maleena Lim, Samontha Lushinski, Victoria Mam, Diana Ouk, Kristina Ouk, Aleeyha Sophia Prak, Grace Rafferty, Megan Jean Smith, Chhomnimol Murielle Sokhon, Voleak Evelyn Sokhon, Kesarah Touch, Elizabeth Yap, Erica Yap, Katherine Yap, Regina Yap, Stephanie Yap, Darlene You, Vannika Jasmine You
Cambodian Buddhist Society Culture Group -- Cambodian Buddhist Society Culture GroupAnthony, Khalarath Bloesch, Kim Bloesch, Rachna Chhay, Rachny Chhay, Ngek Chum, Sovan Chum, Key Ek, Viphas Heng, Sophy Hoeung, Ra Klay, Elizabeth Korn, Dinita Mani, Masady Mani, Sok Nou, Chanversa Omkar, Chris Omkar, Joanna Pecore, Annong Phann, Dante Phann, Bobbharath Rithipol, Manida Sam, Vathana Say, Suejane Tan, Sunny Tech, Allsya Thao, Victor Thao, Sochietah Ung, Ganbott Voey
Chinatown Community Cultural Center and the Wong People, Washington, D.C. -- Chinatown Community Cultural Center and the Wong People, Washington, D.C.Sifu Raymond Wong, Mei Cao, Sue Lin Li, Damian Ma, Charles Meadows, Michael Peters, Dat Phan, Can-Ye Wong
Chinese Opera (Society for Kunqu Arts)
Dana Tai Soon Burgess & Company (Korean American), Washington, D.C.
Dhroopad (Bangladeshi American)
Fiji Vesi Tagitagi Ensemble -- Fiji Vesi Tagitagi EnsembleLitia Lomalagi, Sili Lomalagi, Louise Lomaloma, Sala Sucu, Saula Sucu
Ganga (Bengali American) -- Ganga (Bengali American)Hitabrata Roy, Vienna, VirginiaKrishna RoyBroto Roy, Falls Church, VirginiaNupur LahiriIndrajit Roy ChowdhuryGautam Adhikari
Hakka Association in the Washington Metropolitan Area
Hakka TungFa Chorus of Greater Washington, D.C.
Halau Ho'omau (Hawaiian)
Halau O'Aulani (Hawaiian)
Hawaiian Serenaders and Dancers
Himalayan Music Group from Nepal with Prem Raja Mahat
India International School
Kaur Foundation (Sikh)
Korean American Cultural Arts Foundation
Lao American Break-dancers -- Lao American Break-dancersBinly AKA Lancer, Kennedy Phounsiri, Ranny Sitthideth, Issy Visarayachack
Lao American Women's Association of Greater Washington, D.C. -- Lao American Women's Association of Greater Washington, D.C.Sue Chaison, Reagan Naughton, Sengpheth Sandara, Nicky Tummatip
Lao Heritage Foundation Musicians -- Lao Heritage Foundation MusiciansBriana Chaisone, Bobby Inthavong, Khamsa Sounviengxay, Xai Souphom
Lao Swan Dance Group -- Lao Swan Dance GroupMimi Chanthaphone, Sivilay Phabmixay, Silidavone Phanthavong, Christina Sivanthaphanith
Marshallese Community
Mongolian School of Greater Washington
Mongolian Wrestlers
Nen Daiko—Ekoji Buddhist Temple (Japanese American) -- Nen Daiko—Ekoji Buddhist Temple (Japanese American)Cordula Dahal, Brant Horio, Maya Horio, Emily Ihara, Lisa Iwahara, Diane Miyasato, Greg Nakamura, Lisa Noguchi, Kevin Shin
Sulu D.C. (Asian Pacific American) -- Sulu D.C. (Asian Pacific American)Kilusan Bautistsa, Lily Bee, Regie Cabico (host), Alexander Cena, Simone Jacobson, Gowri K, Jenny C. Lares, iLL-Literacy, The Pinstriped Rebel (deejay), SNRG, Tiayi Sun, Yoko K
Sutera Malaysia
Sutradhar Institute (Indian American)
Tae Kwon Do
Ultimate Kali-Eskrima (Filipino American) -- Ultimate Kali-Eskrima (Filipino American)Walter H. Crisostomo, Wesley H. Crisostomo, Lexi D. Crisostomo, Kibok Kim, Ron Laster, Hans Ege Werger
Washington Gu-Zheng Ensemble -- Washington Gu-Zheng EnsembleGrace Chu, Alice Kan, Kent Kan, Jane Li, Li Li, Phoebe Liu, Angela Wang
Washington Toho Koto Society -- Washington Toho Koto SocietyZainab Abdul-Rahim, Miya Aoki, Jim Best, Kyle Brady, Wanda Butler Hardie, Colin Khem, Lombar Martinez, Kyoko Okamoto, Keiko O'Rourke, Sachiko Smith, Izumi Tamanaha, Yoshiko Tucker
Wat Thai of Washington, D.C.
TALKSTORY DISCUSSION STAGE -- TALKSTORY DISCUSSION STAGEKiran Ahuja, Keola Akana, Chris Baltazar, Kumar Barve, Ahmad Borhani and family, Hung Bui, Eric Byler, Yoonmee Chang, Nicholas Chen, Wendy Cheng, Laura Chin, Harry Chow, Sandy Hoa Dang, Judith Do, Tammy Duckworth, Kimmie Duong, Ryan Edgar, Eni Faleomavaega, Theo-dric Feng, Cora Foley, Jennie Chin Hansen, Lisa Hasegawa, HIRO, Mazie Hirono, Vu Hoi, Michael Honda, Bel Leong Hong, Terry Hong, Nasima Hosain, Kun-yen Huang, Hoa Tu Huong, Tommy Hwang, Grant Ichikawa, Gina Inocencio, Tim Johnson, Tanya Joshua, Harminder Kaur, Mark Keam, Phyllis Khaing, Jeong H. Kim, Yann King, Harold Koh, Howard Koh, Soohyun Julie Koo, Ford Kuramoto, Chin-fun Kwok, Myoung-Won Kwon, Cherry Kwunyeun, Rosetta Lai, Jenny Lares, Brigitte Le, D. Lee, Susan Lee, Wendy Lim, Michael Lin, Lawrence Liu, Juanita Tamayo Lott, Gerald Maa, Harpal S. Mangat, Bertrand Mao, Gale Awaya McCallum, Lurline McGregor, Norman Mineta, V. Mirandah, Ruby Moy, Myamya Myaing, Hiu Newcomb and family, Long Nguyen, Franklin Odo, Annabel Park, H.K. Park, Alakananda Paul, Dilip Paul, Saswati Paul, Mali Phonpadith, Lili Qi, Shirley Queja, Sonia Reynolds, Anna Rhee, Amy Rider, Miriam Riedmiller, Noriko Sanefuji, Larry Shinagawa, Eric Shinseki, Shiro Shintaku, Sala Sucu, Saula Sucu, Carol Takafuji, Annie Tao, Take Toma, Sandi Tun, Carmelita Tursi, Kris Valderrama, Yeni Wong, Gerald Yamada, Bruce Yamashita, Joanne Yamauchi, Al Yanger, Charlotte Yeh, Joanna Zhao
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2010 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
Washington, D.C.: It's Our Home was a program rich with the memories and flourishing traditional practices of the city's fishermen, taxi and bus drivers, lawyers, dancers, activists, retirees, seamstresses, craftspeople, musicians, choirs, quartets, gardeners, poets, cooks, quilters, and rappers, from east of the Anacostia River to west of Rock Creek Park. Washington, D.C., is a city of refuge and advocacy for the marginalized peoples of our nation and the world, and participants helped visitors see the social, cultural, and political context for their folklife practices. More than 45 researchers from community institutions and universities in the District worked for over a year and compiled cultural documentation on hundreds of potential Festival participants. Then they tackled the ticklish task of making a coherent statement about their multi-faceted city. A few examples illustrate what they found and chose to present on the National Mall.
Soccer, for example, offers windows to connections and community. New immigrants to Washington often search for soccer teams from home. Each week Washington's parks host a small contest between nations, from Trinidad to Korea and Ethiopia. Spectators cook and share traditional foods, play music, and dance, transforming these games into celebrations. Long-time Washingtonians have grown to love soccer as well, and the city has nurtured its own legendary players and coaches, clinics and camps, styles, language, and new generations of players.
Washington, D.C., residents are also enthusiastic participants in and spectators of numerous parades and processions throughout the year. Caribbean Carnival, Gay Pride, Chinese New Year, Unifest, Halloween, the Cherry Blossom, and inaugural parades and Good Friday processions are examples of lively celebratory events that take place on city streets. Participants in those celebrations spend countless hours in detailed planning and preparation to create the delicate balance between artistic style and performance. Spectators interact with performers as this unpredictable form of dynamic street theater pulsates through city neighborhoods. Folklife Festival visitors could enjoy both the celebrations themselves and the behind-the-scenes preparations.
The program also honored community life and civic action, including the memories of the neighborhoods that people built as safe spaces from discrimination, and others that people lost through urban renewal and relocation. Participants described the city's long tradition of human rights activism, and they shared the songs, arts, stories, icons, rituals, and memorabilia that have enlivened this tradition.
Go-go, Washington's indigenous music, may be the quintessential urban music, all percussion and beat, pulsing from garbage can lids, plastic buckets, homemade drums, cowbells, bass guitar, and saxophone, drawing audiences into passionate call-and-response as they identify the neighborhoods where they live. As musicians, deejays, dancers, stylists, instrument builders, and fans make this music, they also communicate its deep and complex roots in African American musical styles, the history of live musical gatherings in the city, and the pride of place expressed in a musical tradition that begins with meager material resources.
Marianna Blagburn, Michael McBride, Brett Williams, and John Franklin were Curators, and Ivy Young was Program Coordinator. Program Area Organizers were: Gabriel Benn (spoken word), Tom Blagburn (basketball), Sally Gifford (social justice dialogues), Lisa Pegram (spoken word), and Lauren Rogers (reunions). Marianna Blagburn and Brett Williams were Research Coordinators.
The program was produced in collaboration with the D. C. Commission on the Arts and Humanities. Major support was provided by the Government of the District of Columbia, The Morris and Gwendolyn Cafritz Foundation, The D.C. Sports and Entertainment Commission, Hilton Hotels Corporation, The Dunn and Bradstreet Corporation, The Meyer Foundation, The Washington Post, Chevy Chase Bank, Washington Metropolitan Area Transit Authority, IBM, and the Recording Industries Music Performance Trust Funds. Additional support was provided by the D.C. Humanities Council; the Blum Kovler Foundation; Program in African American Culture, Division of Cultural History, National Museum of American History; and SPOT Image Corporation.
Researchers:
Lois E. Adams, Diane A. Bacote, Candace Barnes, Sue Barnes, Gabriel C. Benn, Toni Blackman, Tom Blagburn, Iley Brown II, James Brown, Jr., P J. Brownlee, Camilla Bryce-Laporte, Anika Collins, Evelyn Curenton, Sandy Dang, Anna De Fina, Jane Flegel, Christopher Flores, Paul Gardullo, Lilo Gonzales, Alan Hersker, Sherri Lawson-Clark, William Mabry, Atiba Madyun, Angie Manzano, Susie McFadden-Resper, Melinda Michels, Lisa Pegram, Jemima Pierre, Kishanna Poteat, Rose Powhatan, Mingo Roberts, Elizabeth Sheehan, Danette Sokocich, Pallavi Thakur, Michael Twitty, Nilda Villalta, Sheila Wise, Yohannes Zeleke
Presenters:
Gabriel Benn, Kai Blagburn, Rahman Branch, Camilla Bryce-Laporte, Kenny Carroll, Anna DeFina, Robert Fry, Howard Gassaway, Jordan Graye, Marjorie Hunt, Philippa Jackson, Linda Lee, Beverly Lindsay, Diana N'Diaye, Lisa Pegram, Mingo Roberts, Sheila Roberts, Ryan Rodríguez, Stephen Syphax, Michael Twitty, Nilda Villalta, David Wang, Brian Williams
Participants:
CRAFT TRADITIONS
James Brown, fiber artist
Daughters of Dorcas -- Daughters of DorcasViola Canady, quilterRaymond Dobard, quilter
Veronica DeNegri, -- arpilleras -- maker
Videlbina Flores-Fitch, piñata maker
Carlos Gomez, -- berimbau -- maker
Iola Hall, basket weaver
Brian Hamilton, stained glass maker
Alfredo Herrera, woodcarver
Lafayette Elementary School Quilters -- Lafayette Elementary School QuiltersJory BaroneKathy ByrdEdith JicklingJane McIntyre
Patrick Plunkett, stone carver
Vilma Quintanilla, quinceañera dress maker
Francisco Rigores, drum maker
Andy Seferlis, stone carver
Constantine Seferlis, stone carver
Mamo Tessema, potter
Rome Yetbarek, basket weaver
DANCE TRADITIONS
African Heritage Drummers and Dancers
Andrew Cacho African Drummers and Dancers
International Capoeira Angola Foundation -- International Capoeira Angola FoundationSheryll AldredChandra BrownSkher BrownHahnhuynh Armando DrakeCarlos GomezKojo JohnsonGabriela MandolesiCobra MansaSaadika MooreFrancisco Bermudez MoralesGege PoggiSylvia RobinsonAmina Malik SantemuKevin WilsonAyende Youmans
Poetry in Motion -- Poetry in MotionLarry BarronCharles BrownLevet Brown, Jr.Antonio F. BrutonSarah L. CrawleyRenee FinkleyGloria GoodeClinton J. GreenGary HolmesMary D. HopkinsGrace Little, vocalsJames OnqueCrystal P. ThompsonMell L. WalkerWarren E. WashingtonAnthony Yancey
the blueshounds -- the blueshoundsChris Dean, bassBarbara Jackson, lead vocalsNick Martin, keyboardsTony Rakusin, guitarBarry Turner, drums
Big Hillbilly Bluegrass -- Big Hillbilly BluegrassMike Marceau, bassTad Marks, fiddleBob Perilla, guitar, vocalsDick Smith, banjo, mandolin
Chuck Brown and the Soul Searchers -- Chuck Brown and the Soul SearchersChuck Brown, guitar, vocalsBrad Clement, trumpetGlen Ellis, bassRobert Green, congasJuJu House, drumsBrian Mills, saxophoneSherrie Mitchell, keyboard
Sin Miedo -- Sin MiedoAnna Mercedes Castrello, lead vocalsBrad Clements, trumpetRalph Eskenazi, timbalesSamuel Mungia, bassPatrick Noel, bongosDidier Prossaird, pianoGary Sosias, congas
Sweet Honey in the Rock -- Sweet Honey in the RockYsaye Maria Barnwell, vocalsNitanju Bolade Casel, vocalsAisha Kahlil, vocalsCarol Maillard, vocalsBernice Johnson Reagan, vocalsShirley Childress Saxton, ASL interpreter
Nap Turner
Youth Steel Band
D.C. Divas
Julia Nixon -- Julia NixonJulia Nixon, vocalsDavid Ylvisaker, piano
Bernice and Toshi Reagon -- Bernice and Toshi ReagonMichelle Lanchester, vocalsBernice Reagan, vocalsToshi Reagan, vocals, guitarYasmeen, vocals
SACRED MUSIC TRADITIONS
Barbara Gaskins -- Barbara GaskinsRoyce Bouknight, bassDeborah Delgado, vocalsBarbara Roy Gaskins, vocals, lead and rhythm guitarCharles Marvary, drumsKim Watson, vocals
B'nai Shalom Adult and Youth Choir
Cambodian Network Council - Cambodian Arts Project -- Cambodian Network Council - Cambodian Arts ProjectNatalie Chhuan, cymbals, dancerPhavann ChhuanRithy Chhuan, dancerThyda Chhuan, dancerBonnary Lek, dancerAmarind Sam, dancerChanmoly Sam, dancerLaksmi Sam, dancerMalene Sam, dancer
Cardozo High School Concert Choir
Carlton Burgess & Friends
Complete Praise
Rev. James Flowers and the Flowers Family Singers -- Rev. James Flowers and the Flowers Family SingersTommy Crosby, guitarReverend James N. Flowers, Jr., vocalsLizzy Flowers, vocalsMargaret L. Flowers, vocalsYolanda Flowers, vocalsMarie Hickson, vocalsDorothy McDowell, vocalsJerry Parker, keyboardsMargie Pickett, vocalsErma Reed-Flowers, vocalsMildred Scruggs, vocalsGeorge White, drumsTommy White, bass
Foundation Khadimou Rossoul, North America -- Foundation Khadimou Rossoul, North AmericaPape DiengCheikh KèbèMassaer SambKhidim SeckPape SeckAbdoulaye TambaEl Hadj ThiamMourtala Thiam
The Four Echoes -- The Four EchoesGeorge G. Blake, tenorWilliam Evans, lead vocalsJames Stein, baritoneGlen Taylor, lead guitar, vocals
Holy Comforter - St. Cyprian Catholic Church Gospel Choir -- Holy Comforter - St. Cyprian Catholic Church Gospel ChoirKenneth Louis, music director
Kings of Harmony - United House of Prayer for All Peoples
Keshet Chorale of the D.C. Jewish Community Center
Maria Luisa Sylos-Labini, Northern Italian cooking
Sing Tam, Chinese cooking
Ester Treviño, Salvadoran cooking
Taye Wogederes, Ethiopian cooking
Dorothy Young, African-American cooking
Bruno Zara, Central Italian cooking
Christina Zara, Central Italian cooking
GARDENING TRADITIONS
Diane Dale
Patricia Giles
Pride Heitt
Columbus Jones
Frieda Murray
Judy Tiger
SOCIAL JUSTICE TRADITIONS
Judith Bauer
Dorothy Brizill
Carl Cole
Sandy Dang
Lori Dodson
Alfred Dudley
Bernice Fonteneau
Pat Hawkins
George LaRoche
Julius Lofton
Ignatius Mason
Phil Ogilvie
Mark Richards
Maurice Shorter
Kathryn Sinzinger
Larry Smith
John C. Snipes
Ivan Walk
Karen Zachary
SPOKEN, WRITTEN, RHYTHMIC WORD TRADITIONS
D.C. National Teen Slam Team -- D.C. National Teen Slam TeamHenry ArangoKenneth CarrollIsaac ColonJabari ExumOkechukwu lwealaLarry RobertsonLauren Wyatt
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2000 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1997 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: African Immigrant Folklife
Series 3: The Mississippi Delta
Series 4: Sacred Sounds: Belief & Society
Series 5: Special Events
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1997 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
As the twentieth century neared its end, the entertainment industry dominated popular views of culture. Cultural enterprises including movies, television, theme parks, recordings, and video stores constitute one of the world's largest industries. Nevertheless, there is another world of culture created and sustained in homes, communities, places of work and worship. Our lullabies and hymns, liturgical chants and celebratory songs, songs of work, struggle, and mourning, are rarely heard in music stores or on radio stations. Yet it is those traditions and the cultures they represent that are highlighted at the annual Festival of American Folklife.
The 1997 Festival featured three major programs, complemented by the third annual Ralph Rinzler Memorial Concert. Sacred Sounds brought together people from a variety of religious communities, from around the nation, Jerusalem, and from South Africa. Their songs expressed spiritual feelings and convictions connecting their lives to tradition. At the Festival, audiences could hear some of the ways in which music flows from the spirit of a diverse humanity to express its highest aspirations.
A second program, African Immigrant Folklife, illustrated the many traditions of recent immigrants to the United States from Africa. These immigrants participate in a changing culture, as people, families, and communities find their place in American society. Festival visitors could celebrate the enterprise and vitality of recent immigrants to the United States from Africa, who have brought their cultures across the Atlantic Ocean to the Washington metropolitan area.
The Mississippi Delta, the subject of the third Festival program, is a culturally rich region of the United States that gave birth to blues, jazz, rockabilly and rock 'n' roll, honky tonk, distinctive forms of gospel, oratory, marvelous stories, folk and visionary art, and an encyclopedia of river lore - not to mention barbecue and fish fries. Native, Spanish, African, French, and American people all merged along the Mississippi, just as many tributaries flow into one river. Beginning even before the arrival of Europeans, the Mississippi has been a source of food and irrigation, a highway for commerce, a strategic center for political power, a source of inspiration for song and spirit. The region's cultural expressions, continually shaped by the daily experience - the work, worship, home life, and recreation - of the people who live there, were shared with Festival visitors on the National Mall.
The 1997 Festival took place during two five-day weeks (June 25-29 and July 2-6) between Madison Drive and Jefferson Drive and between 9th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured three programs, with special events that included the Ralph Rinzler Memorial Concert.
The 1997 Program Book included schedules and participant lists for each program; essays provided background on the Festival and on each of the programs.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.
Center for Folklife Programs & Cultural Studies
Richard Kurin, Director; Richard Kennedy, Deputy Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian Folkways Recordngs; James Early, Director, Cultural Studies & Communications; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Chair, Research & Education; Betty J. Belanus, Marjorie Hunt, Diana Baird N'Diaye, Peter Seitel, Curators, Folklorists, Education and Cultural Specialists; Carla M. Borden, Program/Publications Manager; John W. Franklin, Program Manager; Cynthia Vidaurri, Coordinator, Latino Cultural Resource Network; Jeffrey Place, Archivist; Stephanie Smith, Assistant Archivist; Arlene L. Reiniger, Program Specialist; Charlie Weber, Media Specialist; Brenda Danet, Nadia Abu El-Haj, Roland Freeman, Ivan Karp, Alan Lomax, Worth Long, Kate Rinzler, Luise White, Fellows, Research Associates & Collaborators
Folklife Advisory Council and Folkways Advisory Council
Roger Abrahams, Jacinto Arias, Michael Asch, Jane Beck, Don DeVito, Pat Jasper, Ella Jenkins, Jon Kertzer, Barbara Kirshenblatt-Gimblett, John Nixdorf, Bernice Johnson Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez
National Park Service
Terry Carlstrom, Acting Director, National Capital Region
Forms Part Of:
Smithsonian Folklife Festival records: 1997 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1993 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.
Missing Title
Series 1: Program Books, Festival Publications, and Ephemera
Series 2: American Social Dance
Series 3: Kids' Stuff
Series 4: Metro Music
Series 5: U.S.-Mexico Borderlands
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.
The 1993 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.
For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1993 Festival of American Folklife was the 27th since the Smithsonian's annual living cultural exhibition began in 1967. In 1993, the Festival included programs on U.S.-Mexico borderlands, American social dance, music in the Washington Metropolitan area, and urban children's culture. All pointed to how people creatively use the resources of community culture to shape life experiences in ways that celebrate and affirm social values.
The Festival's featured program, U.S.-Mexico Borderlands, was the latest in a series developed for the Columbus Quincentenary which sought to expand public knowledge about the cultural history of our hemisphere and to fortify the Smithsonian's engagement of colleagues and communities in Latin America and the Caribbean. Those programs, including Creolization in the Caribbean, Land and Power in Native American Cultures, New Mexico, Maroons in the Americas, and American Indian Soundscapes, directly reached some five million Festival visitors. Brought to fruition with the cooperation of scores of academic, cultural, and educational institutions in 18 nations, those programs engaged the efforts of some 250 different scholars and over 1,000 exemplary culture bearers from across the Americas. They generated rich documentary archives, copies of which reside both at the Smithsonian and at collaborating institutions. Additionally, the programs generated two documentary films and several books, and even contributed to the passage of cultural legislation.
The 1993 Festival took place during a single five-day week (July 1-5) between Madison Drive and Jefferson Drive and between 10th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).
The 1993 Program Book included schedules and participant lists for each program; essays provided background on the Festival and each of the four programs.
The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.
Center for Folklife Programs & Cultural Studies
Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Director, Quincentenary Projects; Richard Kennedy, Program Analyst; Vivian Chen, Diana Baird N'Diaye, Amy Horowitz, Marjorie Hunt, Folklorists/Curators; Carla Borden, John Franklin, Program Managers; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Betty Belanus, Research Associate
Folklife Advisory Council
Roger Abrahams, Jacinto Arias, Jane Beck, Pat Jasper, Barbara Kirshenblatt-Gimblett, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez
National Park Service
Roger Kennedy, Director; Robert G. Stanton, Regional Director, National Capital Region
Forms Part Of:
Smithsonian Folklife Festival records: 1993 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .
Smithsonian Folklife Festival records
Smithsonian Folklife Festival records: Papers
1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Metro Rail System, Washington Metropolitan Area Transit Authority
Extent:
1 Map (13 7/8 in x 18 3/4 in)
Container:
Map-folder 1
Type:
Archival materials
Maps
Date:
undated
Series Restrictions:
Collection is open for research.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Helicopter Air Service Program: Hearings before the Aviation Subcommittee of the Committee on Commerce, United States Senate, Eighty-Ninth Congress, First Session on Helicopter Air Service Program, March 8-11, 1965, US Government (Washington, DC) Serial No. 89-4.
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
New York Airways Collection, Acc. NASM.1992.0052, National Air and Space Museum, Smithsonian Institution.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
New York Airways Collection, Acc. NASM.1992.0052, National Air and Space Museum, Smithsonian Institution.
