Robinson, Franklin A., Jr., 1959- (actor) Search this
Container:
Box 3, Folder 2
Type:
Archival materials
Date:
1926
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History
Sponsor:
Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Olympic Games join athletes from across the globe in the highest levels of competition and excellence. The games have included, since their inception, a cultural component, but never before as extensively as in Atlanta in 1996. The Centennial Olympic Games brought together musical and dramatic performances, exhibitions, and artists from around the world. But most importantly, the Olympic Arts Festival highlighted the American South.
Southern culture was born from the interactions over past centuries of Native Americans, European settlers, and peoples from Africa. In the South, various forms of expression have arisen and transcended boundaries of race, gender, religion, and geography. So powerful have these expressions been - jazz, blues, gospel, rock 'n' roll, civil rights songs, Southern oratory, and food - that they have constituted unique American contributions to world culture. At the 1996 Festival on the National Mall, these forms of expressive culture were celebrated. Later the same summer in Atlanta during the Olympic Games, the program was the core of Southern Crossroads, a festival of Southern culture mounted in the new Centennial Olympic Park - the gathering spot for several hundred thousand visitors a day and billions more through television coverage. An Enhanced-CD Smithsonian Folkways recording with Internet connections and other educational material derived from the Festival program reached countless more after the Olympic Games.
The 1996 program not only exposed regional cultural roots but also showed how many of them have become part of traditions known to America and the world. Technology amplified the stories and songs of Southern rivers and roads, travails and struggles - as documenters recorded, disk jockeys broadcast, and performers toured these cultural expressions, helping them bridge race, gender, class, and ethnicity and producing forms of music now identified with American culture as a whole.
The world of Southern culture celebrated in the 1996 Festival was one of family, home, and community. The program explored new points of juncture and the evolution of new identities. In these could be discovered in today's South the roots of a new, evolving American culture.
Philippa Thompson Jackson was Program Curator and Phyllis K. Kimbrough was Program Coordinator.
The American South was made possible by and was produced in collaboration with The Atlanta Committee for the Olympic Games Cultural Olympiad and in cooperation with the Southern Arts Federation. Additional support was provided by The Recording Industries Music Performance Trust Funds.
Presenters:
Dori Addison, Tara Browner, Katherine Hagedorn, Joyce Jackson, Worth Long, Derek Lowery, Tim Patridge, Henry Willett Ill, Otis Williams, Joe Wilson
Particpants:
Performance Traditions
BEAUSOLEIL AVEC MICHAEL DOUCET
Jimmy Breaux, Acadian accordion, Lafayette, Louisiana
David Doucet, lead and backing vocals, acoustic guitar, Lafayette, Louisiana
Michael Doucet, lead vocals, fiddle, Lafayette, Louisiana
Al Tharp, vocals, banjo, bass, fiddle, Lafayette, Louisiana
Billy Ware, percussion, Lafayette, Louisiana
THE BIRMINGHAM SUNLIGHTS
Reginald Speight, tenor, Birmingham, Alabama
Barry Taylor, bass, Birmingham, Alabama
James Taylor, light tenor, Birmingham, Alabama
Steve Taylor, bass, Birmingham, Alabama
Wayne Williams, tenor, Birmingham, Alabama
CALLIOPE HIGHSTEPPERS
Henry Freeman, dancer, New Orleans, Louisiana
Johnny Stevenson, dancer, New Orleans, Louisiana
James Taylor, dancer, New Orleans, Louisiana
THE FREEDOM SINGERS
Betty Mae Fikes, 1946-, vocals
Rutha Harris, vocals
Charles Neblett, 1941-, vocals
Cordell Hull Reagon, 1943-1996, vocals
GENO DELAFOSE & FRENCH ROCKIN' BOOGIE
Geno Delafose, diatonic, Acadian & piano accordion, vocals, Eunice, Louisiana
Bobby Broussard, guitar, Eunice, Louisiana
John Espre, bass, Eunice, Louisiana
Germaine Jack, drums, Eunice, Louisiana
Steven Nash, rub board, Eunice, Louisiana
IFÉ ILÉ
Philbert Armenteros, congas, Miami, Florida
Rodolfo L. Caballero, vocals, Miami, Florida
Catalino Diaz, dancer, Miami, Florida
Ruben Romeu, congas, Miami, Florida
Luis E. Torres, bata, congas, chekere, Miami, Florida
Neri Torres, lead dancer, Miami, Florida
Tony Littleturtle Clark, Lumberton, North Carolina
Kat and Ray Littleturtle, Lumberton, North Carolina
Willie Lowery, Lumberton, North Carolina
MAGGIE LEWIS WARWICK WITH TILLMAN FRANKS' OLD TIME LOUISIANA HAYRIDE BAND
Maggie Lewis Warwick, guitar, vocals, Shreveport, Louisiana
Larry Wietstruck, food demon¬strations, Katy, Texas
Sara Wilson, food demonstrations, St. Helena, South Carolina
Gospel Sing
THE CHAPLIERS, UNION CHAPEL BAPTIST CHURCH
Rev. Jimmy Strickland, minister, Pembroke, North Carolina
PROSPECT UNITED METHODIST CHURCH CHOIR
Rev. Bill James Locklear, minister, Maxton, North Carolina
Harold Dean Jacobs, diatonal minister, Maxton, North Carolina
THE SPIRITUAL TONES, WEEPING MARY FULL GOSPEL BAPTIST CHURCH
Rev. Henson F. Brooks, pastor, Salisbury, Maryland
Rev. Russell Campars, Sr., Salisbury, Maryland
Timothy Waters, II, manager, Salisbury, Maryland
WESLEY TEMPLE GOSPEL CHOIR, UNITED METHODIST CHURCH
Rev. Grant Johnson, minister, Salisbury, Maryland
Diane West, choir director, Salisbury, Maryland
Mary Winder, pianist, Salisbury, Maryland
Janet Ames, president and business manager, Salisbury, Maryland
WHITE HILLS FREE WILL BAPTIST CHURCH CHOIR
Rev. Jerry Locklear, minister, Maxton, North Carolina
Eddie Carter, music director, Maxton, North Carolina
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: 1996 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, 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.
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 is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana Subject Categories: Organs, Archives Center, National Museum of American History, 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).
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana Subject Categories: Organs, Archives Center, National Museum of American History, 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).
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, 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).
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana Subject Categories: Rope, Archives Center, National Museum of American History, 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).
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana Subject Categories: Rope, Archives Center, National Museum of American History, 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).
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana Subject Categories: Rope, Archives Center, National Museum of American History, 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).
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana Subject Categories: Rope, Archives Center, National Museum of American History, 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).
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana Subject Categories: Patent Medicines, Archives Center, National Museum of American History, 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).
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Warshaw Collection of Business Americana Subject Categories: Pianos, Archives Center, National Museum of American History, 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).
208 Tennessee Dog / Jimmie Strothers. Banjo. English language.
209 Ain't No Bugs on Me / Fiddlin' John Carson. Guitar,Fiddle,Banjo. English language.
Local Numbers:
FP-RINZ-LP-0946
Library of Congress.LBC 11
Publication, Distribution, Etc. (Imprint):
Washington, D.C. Library of Congress
Date/Time and Place of an Event Note:
Recorded in: Camden (N.J.), New Jersey, State Farm (Va.), Virginia, Mahonoy (Pa.), Pennsylvania, Prescott (Ariz.), Arizona, Charlotte (N.C.), North Carolina, Memphis (Tenn.), Tennessee, Jackson (Miss.), Mississippi, New York (N.Y.), New York, Chicago (Ill.), Illinois, Hollywood (Calif.), United States, California.
Performers:
Smith, Fairley, Thomas and Smith
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.
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 1967 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: Fieldwork
Series 3: Photographs
Series 4: Audio
Series 5: Video
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 1967 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts.
For more information, see Smithsonian Folklife Festival records.
Introduction:
In 1966, Smithsonian Secretary S. Dillon Ripley engaged James R. Morris to serve as Director of Museum Services, soon to become a new Division of Performing Arts. Ripley charged Morris to develop a full program of performances on the National Mall - sound and light show, readings and concerts, films, live demonstrations, and special exhibitions. Morris, who had previously organized the American Folk Festival in Asheville, North Carolina, in 1963, proposed that the Smithsonian host a folk festival as the centerpiece of the outdoors activities. Through the Asheville festival, Morris had come into contact with key people involved in the Newport Folk Festival, among them Alan Lomax. It was Lomax who suggested that the Smithsonian hire Newport's then-director of field programs, Ralph C. Rinzler, to help plan a Smithsonian festival. The term "folklife", drawn from Scandinavian usage, was chosen over "folk" as the name of the new Festival.
The first Festival of American Folklife was held July 1-4, 1967 in two tents - one for crafts and one for sales - a music stage, and a performance area on the terrace of the Museum of History and Technology (later, the National Museum of American History). Fifty-eight traditional craftspeople and thirty-two musical and dance groups from throughout the United States demonstrated and performed at the first open-air event. Mountain banjo-pickers and ballad singers, Chinese lion dancers, Indian sand painters, basket and rug weavers, New Orleans jazz bands and a Bohemian hammer dulcimer band from east Texas combined with the host of participants from many rural and urban areas of the U.S. The entire event was free to the public, the expense of the production having been borne by the Smithsonian aided by numerous civic and cultural organizations, business enterprises and State Arts Councils.
The 1967 Festival drew a huge crowd - estimated at more than 400,000 - and strong interest from the press, Members of Congress, and Smithsonian leadership. In the Smithsonian's annual report for 1967, Ripley reflected on the success of the Festival:
Within - in the Museum - the tools, the products of craft work, the musical instruments hang suspended in cases, caught in beautifully petrified isolation. Without, for the space of a few hours they came alive in the hands of specialists from all over America.... It was a moving spectacle and one that underscored the principle that a museum, to be a museum in the best sense of the word, must live and breathe both within and without.
The 1967 Festival marked the inception of a fresh attempt at the evaluation, documentation and celebration of a hitherto unrecognized area of vigorous American expression. Concurrent with the first Festival, an American Folklife Conference was organized (with assistance from Henry Glassie) to address topics of American and international folklife studies, the relationship between folklife and history, applied folklife, and folklife in schools, museums, communities, and government agencies.
The Festival was organized by the Division of Performing Arts, under the direction of James R. Morris. Ralph Rinzler was the Applied Folklore Consultant and Festival Artistic Director, and Marian A. Hope was Project Assistant. No program book or schedule was published, but news articles, congressional remarks, letters from the public, and a list of participants were later compiled in lieu of a program book. That document can be viewed in Series 1.
Participants:
Crafts
Harry Belone, 1912-1986, Navajo sand painter, Arizona
Herman Benton, 1914-1994, scoop maker, New York
Mary Bowers, 1922-2002, Seminole patchwork, needlework, Florida
Marie Z. Chino, 1907-1982, Acoma pottery, New Mexico
Mildred Cleghorn, 1910-1997, Indian cloth dolls, Oklahoma
Maisy Coburn, apple face and corncob dolls, Arkansas
Margaret Coochwytewa, 1923-1995, Hopi, coil and yucca leaves basket maker, Arizona
Victor Coochwytewa, 1922-2011, Hopi silversmith, Arizona
Freedom Quilting Bee, Alabama
Taft Greer, 1908-1986, weaver, Tennessee
Joseph Grismayer, 1888-1970, willow basket maker, Pennsylvania
Dewey Harmon, 1900-1972, whittler, North Carolina
Bea Hensley, 1919-2013, blacksmith, North Carolina
Louise Jones, 1910-1973, coil basket making, South Carolina
Robert Keith, chair maker, North Carolina
Mrs. Robert Keith, chair maker, North Carolina
Norman Kennedy, 1934-, carder, spinner, weaver, Massachusetts
Clifford Lucas, Indian dolls, New Mexico
Lila Suzanne Marshall, 1908-1994, corn shuck dolls, North Carolina
Charles Mayac, 1906-1971, ivory carver, Alaska
Leo J. Meyer, scrimshaw carver, Maryland
Alice Merryman, 1906-2007, corn shuck dolls, Arkansas
Norman Miller, 1905-1972, southern pottery, Alabama
Mrs. Norman Miller, southern pottery, Alabama
Hazel Miracle, 1915-2001, apple face, corn shuck dolls, Kentucky
Homer Miracle, 1910-1980, hand-hewn bowls, carver, Kentucky
Ann Mitchell, corn shuck dolls, Maryland
Golda Porter, spinner, North Carolina
Edd Presnell, 1916-1994, dulcimer maker, North Carolina
Wade Ward (1892-1971) and the Buck Mountain Band, mountain string band, Virginia
Yomo Toro Band, Puerto Rican music, New York
Ed Young (1910-1972), G.D. Young and Lonnie Young (1903-1976), African American fife and drum group, Mississippi
Young People's Chorus from the Scripture of Church of Christ, gospel, Virginia
Dance
Blue Ridge Mountain Dancers, cloggers, North Carolina
Chinese Lion Group, Washington, D.C.
Maurice Flowers, square dance caller, Maryland
Los Gallegos d'Espana, Galician dance, New York
Glinka Dancers, Russian dance group, New Jersey
Jochim Koyuk, King Island Eskimo dancer, Alaska
Mrs. Jochim Koyuk, King Island Eskimo dancer, Alaska
McNeff Dancers, Irish dancing with Ceilidh band, New York
Henry Paterick, square dance caller, Virginia
St. Andrews Society Group, Scottish dancing, Washington, D.C.
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.
Forms Part Of:
Smithsonian Folklife Festival records: 1967 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 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.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
The Basque country is a region that spans borders. Located in northern Spain and southwestern France, straddling the Pyrenees Mountains, its spirit can be felt on the sheep-grazed mountains of Idaho, in fishing communities from Scotland to Newfoundland, and in towns across Mexico and Argentina.
From an early period, Basques looked beyond their borders for resources and inspiration, a trait that keeps them on the cutting edge of global economic and sustainability movements. However, their commitment to language and cultural preservation may be the key to their success. To present this intricate tension, musicians, dancers, boat makers, cooks, and other experts from the Basque country and diaspora communities shared their unique traditions and perspectives as part of the Basque: Innovation by Culture program.
Basque culture has always emphasized innovation. The Basque were among the earliest European explorers, fishermen, and whalers to venture to the Western Hemisphere, and their culture reflects this historic influence. Many iconic Basque foods have their roots in the Western Hemisphere and the seafaring heritage, including bakailao (salted cod), piperrada (pepper-based sauce), and marmitako (tuna and potato stew). Today, Basque cuisine sets the standard for farm-to-table and sea-to-table quality.
The Basque have long been leaders in industry, helping usher in the Industrial Revolution after discovering rich bands of iron ore in their mountains. They prospered during the cooperative movement of the mid-twentieth century and are now innovators in car part manufacturing, sustainable energy, transportation, and engineering.
While Basque culture is innovative and outward looking, the people maintain strong cultural roots. They constitute one of the oldest communities in Europe, and today approximately one million people worldwide speak Basque, or Euskara, a language once on the brink of extinction and now an example of successful language revitalization. To many Basques, language is a key component of their identity.
Cristina Díaz-Carrera and Mary S. Linn were Curators. In Basque Country, the Curatorial Advisory Committee included: Lorea Bilbao Ibarra, Mikel Mancisidor De la Fuente, Rikar Lamadrid Intxaurraga, Iurdana Acasuso Atutxa, and Asier Madarieta Juaristi. Valentina Pilonieta-Vera was Program Coordinator; Anne Pedersen was Research Assistant; Greyson Harris was Community Engagement Coordinator; and Betty Belanus curated the Family Activity Area. A Community Advisory Group included: Valerie Arrechea, Philippe Archeritogaray, Argia Beristain, Xabier Berrueta, Mark Bieter, Begoña Echeverria, Nagore Goitiandia, Roberto Guerenabarrena, Xabier Irujo, Jurdana Izagirre, David Jayo, Estebe Salgado, Ann Terese Anacabe Franzoia, Iban Ubarretxna, John Ysursa, and Sam Zengotitabengoa.
This program was co-presented and co-sponsored by the Basque Country institutions: the Basque Government and the provincial governments of Álava, Biskaia, and Gipuzkoa. Participation of the Joaldunak was made possible by the Government of Navarra. Significant in-kind support was provided by the members of the North American Basque Organization.
Presenters:
Idoia Ariceta Lopez, Iker Arranz, Argia Beristain, Franxoa Bidaurreta, John Bieter, Igor Cantabrana Ugalde, Martin Goicoechea, Samiñe Irigoien, Melani Muñoz Perea-Cruz, Unai Nafarrete Errasti, Mireia Ondarra Arruti, Emily Socolov, Gloria Totoricaguena, Maitane Uriarte Atxikallende, Garazi Uriarte Conde
Participants:
BASERRIA
Eneko Goiburu Murua, 1976-, cheese maker, Segura, Gipuzkoa, Spain
Felix Goiburu Errazquin, 1949-, cheese maker, Segura, Gipuzkoa, Spain
Maria Carmen Murua Jauregui, 1950-, cheese maker, Segura, Gipuzkoa, Spain
Olga Uribe Salaberria, 1958-, weaver, Durango, Bizkaia, Spain
Sandrine Lasserre, 1967-, espadrille maker, Mauléon-Licharre, Pyrénées-Atlantiques, France
Jean-Pierre Errecart, 1940-, espadrille maker, Mauléon-Licharre, Pyrénées-Atlantiques, France
Alberto Plata Montero, 1975-, salt maker, Vitoria, Araba/Álava, Spain
Edorta Loma Vadillo, 1959-, salt maker, Gezaltsa, Araba, Spain
EUSKALTEGI
Irati Anda Villanueva, -- bertsolari -- , Vitoria, Araba/Álava, Spain
Xabier Fidel Paya Ruiz, -- bertsolari -- , Bilbao, Bizkaia, Spain
Jose Francisco "Kinku" Zinkunegi, language teacher, Donostia, Gipuzkoa, Spain
Errukine Olaziregi Gomez, language teacher, Madrid, Spain
Iurdana Acasuso Atutxa, language advocate, Igorre, Bizkaia, Spain
Amaia Ocerin Ladrero, language advocate, Bilbao, Bizkaia, Spain
FRONTOIA
Aitzol Atutxa Gurtubai, athlete, Dima, Bizkaia, Spain
Batirtze Izpizua Larrauri, 1983-, athlete, Bermeo, Bizkaia, Spain
Nerea Egurrola Hormaetxe, 1976-, athlete, Lemoiz, Bizkaia, Spain
Karmele Gisasola Zenikazelaia, 1994-, athlete, Mallabia, Bizkaia, Spain
Idoia Etxebarria Ikutza, 1992-, athlete, Orio, Gipuzkoa, Spain
Juan Antonio "Konpa" Compañon Duque, athlete, Vitoria, Araba/Álava, Spain
Juan Maria "Txirpu" Aurteneche Echevarria, 1966-, bowler, Dima, Bizkaia, Spain
Javier Berau, Joaldunak carnaval member, San Sebastian, Gipuzkoa, Spain
Lazaro Erreguerena Ariztegui, Joaldunak carnaval member, San Sebastian, Gipuzkoa, Spain
Raquel Rey Garay, culinary student, Aperregi, Araba/Álava, Spain
PORTUA
Maria Elena Garate Astralaga, 1957-, net mender, Bermeo, Bizkaia, Spain
Mikel Gotzon Leoz Aizpuru, 1961-, ship builder, Oiartzun, Gipuzkoa, Spain
Markos Sistiaga Toledo, 1965-, ship builder, Pasai Donibane, Gipuzkoa, Spain
Ernesto Fernandez Pensado, 1958-, ship builder, Donostia, Gipuzkoa, Spain
Miren Canellada Galparsoro, 1970-, engineer, Hondarribia, Gipuzkoa, Spain
Jon Lasa Gallego, 1984-, designer, entrepreneur, Orio, Gipuzkoa, Spain
BASQUE DIASPORA GROUPS
San Francisco, California
Zazpiak Bat, dancers
Bakersfield, California
Kern County Basque Club Dantzari Gazteak, dancers
Kern County Basque Club Klika, brass band
Kern County Basque Club Youth Pilotari, handball players -- Kern County Basque Club Youth Pilotari, handball playersJuliana Marie Alexander, Bakersfield CaliforniaSuzanne Iturriria Alexander, Bakersfield, CaliforniaWilliam Michael Alexander, Bakersfield, CaliforniaNatalia Marie Antongiovanni, Bakersfield, CaliforniaTeresa Antongiovanni, Bakersfield, CaliforniaChristian Gratien Curutchague, Bakersfield CaliforniaAngie Echeverria, Bakersfield, CaliforniaDanielle Echeverria, Bakersfield CaliforniaJeanette Echeverria, Bakersfield CaliforniaDominic Echeverria Lesaca, Bakersfield CaliforniaJean Pierre Etcheverry, Bakersfield CaliforniaJenny Marie Etcheverry, Bakersfield, CaliforniaTimothy Dermide Etcheverry, Bakersfield, CaliforniaAntone John Fanucchi, Bakersfield CaliforniaGina Fanucchi, Bakersfield, CaliforniaMarco Robert Fanucchi, Bakersfield CaliforniaMegan Heather Gamboa, Bakersfield, CaliforniaChris Iturriria, Bakersfield, CaliforniaIsabel Marie Iturriria, Bakersfield, CaliforniaNicholas James Iturriria, Bakersfield, CaliforniaNicole Jeanne Iturriria, Bakersfield, CaliforniaMikela Laverty Iturriria, Bakersfield, CaliforniaLorea Esther Laverty Iturriria, Bakersfield CaliforniaSaioa Laverty Iturriria, Bakersfield, CaliforniaFrancisco Javier Lesaca, Bakersfield CaliforniaAnalisa Marie Alexander, Bakersfield CaliforniaAmelia Thomas Minaberrigara, Bakersfield, CaliforniaDominique Minaberrigarai, Bakersfield, CaliforniaSebastien Thomas Minaberrigarai, Bakersfield, CaliforniaWilliam Tristan Minaberrigarai, Bakersfield, CaliforniaElaine Reyes, Bakersfield, CaliforniaMadeleine Aurora Reyes, Bakersfield CaliforniaThomas Toretta, Bakersfield CaliforniaAriana Torreta, Bakersfield, CaliforniaJohn Lucca Torreta, Bakersfield, California
Chino, California
Gauden Bat, dancers
Elko, Nevada
Basque Dancers of the Great Basin -- Basque Dancers of the Great BasinBrooke Ashley Elquist, Elko, NevadaAlbert J. Goicoechea, Spring Creek, NevadaAmanda N. Goicoechea, Spring Creek, NevadaElias D Goicoechea, Spring Creek, NevadaRiley Mae Harris, Elko, NevadaJanet Louise Iribarne, Elko, NevadaFernando Lejardi, Elko, NevadaAndoni Lopategui, Lamoille, NevadaKattalin Lopategui, Lamoille, NevadaMikel Lopategui, Lamoille, NevadaKiaya Beth Memeo, Lamoille, NevadaFrancisca Mendive, Elko, NevadaMercedes M. Mendive, Elko, NevadaMaite Teresa Moiola, Elko, NevadaNatalia Angela Moiola, Elko, NevadaHayley Brooklynn Nodine, Spring Creek, NevadaOlivia Kathleen Rice, Elko, NevadaHeston Ray Sabala, Elko, NevadaShawn Daniel Sabala, Elko, NevadaBailee Jordan Scates-Guenin, Elko, NevadaGabriella Lynn Vega, Elko, NevadaAlicia Ann Westmoreland, Spring Creek, NevadaShaela Noel Zaga, Elko, Nevada
Boise, Idaho
Amuma Says No
Biotzetik Basque Choir -- Biotzetik Basque ChoirCheryl J. Asin, Boise, IdahoMichael A. Barriatua, Meridian, IdahoChristine Ann Bender, Boise, IdahoBarry Gene Bumgarner, Meridian, IdahoJean Louis Cihigoyenetche, Nampa, IdahoEugene Trotter de Laveaga, Star, IdahoMelyssa Lloyd Dodworth, Boise, IdahoLuise Eugenia Echevarria, Boise, IdahoAlbert Erquiaga, Boise, IdahoPatricia Jo Gabica Haas, Boise, IdahoJanice Gaythwaite, Boise, IdahoCheryl Gratton, Boise, IdahoElizabeth Ann Hardesty, Boise, IdahoGayle Anne Hatch, Boise, IdahoSue Claire V. Hebert, Boise, IdahoMiren Lete-Odencrantz, Boise, IdahoJanice F. Mainvil, Boise, IdahoMonica Balk Moen, Iowa City, IowaJack Lee Olson, Boise, IdahoKarl Morgan Persons, Nampa, IdahoAngela Purcell, Boise, IdahoJames Manuel Sangroniz, Boise, IdahoBonnie J. Shuster, Boise, IdahoLaura Christine Simic, Boise, IdahoDebra Susan South, Mountain Home, IdahoMaria Carmen Totorica, Boise, IdahoDolores Teresa Townsend, Boise, IdahoKathleen S. Tuck, Boise, IdahoWally J. Tuck, Boise, IdahoJames Arnold Van Dinter, Boise, IdahoNancy Ann Van Dinter, Boise, Idaho
Utah Ko' Triskalariak, dancers -- Utah Ko' Triskalariak, dancersCarina Barajas, Salt Lake City, UtahSophie Jeanne Barajas, Salt Lake City, UtahJose Antonio Barajas Jr., Salt Lake City, UtahSonia Castanan, Salt Lake City, UtahMarcel Jean Gaztambide, Salt Lake City, UtahStacey Marie Kramer Buffdale UtahAntonia Marie Lee, Cottonwood Heights, UtahCirbie Michelle Lee, Salt Lake City, UtahShamar Lejardi, Salt Lake City, UtahCristina Maria Sangroniz-Padjen, Cottonwood Heights, UtahAndoni Harold Shortsleeve, Cottonwood Heights, UtahPilar Antonia Shortsleeve, Cottonwood Heights, UtahHarold James Shortsleeve, Jr., Cottonwood Heights, UtahAlises Michele Skaggs, Layton, UtahJames William Skaggs, Layton, Utah
Buffalo, Wyoming
David Romtvedt, musician, Buffalo, Wyoming
Caitlin Belem, musician, Buffalo, Wyoming
New England
New England Basque Club, athletes -- New England Basque Club, athletesJuan Mari Aramendi, Lebanon, Connecticut
New York City
Sonia De Los Santos Videgaray, singer-songwriter, Weehawken, New Jersey
National
NABO Pilota, pilota players
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: 2016 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
