Flashback Friday: Turner Returns to Brazil

This October, the Smithsonian Collections Blog is celebrating American Archives Month with a month-long blogathon! We will be posting new content almost every weekday with the theme Discover and Connect. See additional posts from our other participating blogs, as well as related events and resources, on the Smithsonian’s Archives Month website.

In 2010 for American Archives Month celebration, I wrote a blog post on the pioneering linguist Lorenzo Dow Turner and the Anacostia Community Museum efforts to preserve and digitize his field recordings created between 1930s and 1950s.  Since that post, the museum has successfully recovered and preserved folktales, songs, and interviews Turner collected in West Africa and Brazil. The museum also presented a groundbreaking exhibition on Dr. Turner titled, Word, Shout, Song: Lorenzo Dow Turner Connecting Communities through Language in 2011.  The exhibit looks at the life, research and scholarship of Professor Turner and is based almost entirely on his archival papers and objects in the museum collection.

A section of the exhibition focuses on Turner’s research on African survivals in Afro-Brazilian culture, especially within the Candomblé religion.  The show along with a museum symposium on Turner helped Brazilian scholars unfamiliar with Turner to discover and connect to his work in their country during the 1940s. As a result, “Word, Shout, Song.  . .” exhibition is scheduled to travel in Brazil starting in July 2015.

This will allow the Candomblé communities to connect with the research and documentation conducted by Turner. As an archivist, it gives me professional pleasure to see the materials one has arranged, described, and cataloged as a source for reconnecting a community to their heritage.  In addition, we plan to ingest some of Dr. Turner’s research and appointment books in the Smithsonian Transcription Center for the benefit of scholars, researchers, and the communities he researched.

In the meanwhile, here are some images from Turner’s research in Brazil:


Woman dressed as Iyansã goddess of the wind and storms and the wife of Sangõ, the god of thunder, in the Candomble pantheon. Lorenzo Dow Turner papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.

Afro-Brazilian holding a Berimbau, an Angolan musical instrument.Lorenzo Dow Turner papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.



Mãe Meninha do Gantois and her followers.Lorenzo Dow Turner papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams.

See more images here!

Jennifer Morris

Archivist

Anacostia Community Museum Archives 

          

Discover and Connect but Don't Steal this Book

This October, the Smithsonian Collections Blog is celebrating American Archives Month with a month-long blogathon! We will be posting new content almost every weekday with the theme Discover and Connect. See additional posts from our other participating blogs, as well as related events and resources, on the Smithsonian’s Archives Month website.

Discovering an interesting mark of a former owner in a volume is one of the many great things about working with rare books. A signature of a famous person, a fun drawing, a gift presentation, marginal annotations revealing a reader's thoughts, a memento laid-in, are not uncommon to come upon. Such additions after a work has been printed can provide the researcher with a connection to the past that provides important information. Or, can give a specific warning, if not a curse:

"Steal not this book my humble friend for fear the gallows may be your end."

Why the owner, Lewallen Jackson, held this book so dear that he recorded such a threat on December 26, 1825, is one of those mysteries. Perhaps it was his standard—and effective—marking. And, of course, the early nineteenth century was still a period when books were expensive and not readily available, particularly for the frontier farmer that Jackson appears to have been (from a quick look at online Census records). 

This inscription happens to be located in an important work. Much appreciated in its time, this first edition of Notes, on the Settlement and Indian Wars, of the Western Parts of Virginia & Pennsylvania by Joseph Doddridge (Wellsburgh, Va.: Printed at the Office of the Gazette, for the Author, 1824) was followed by two later versions (in 1876 and 1912) and many later reprints. None other than Theodore Roosevelt proclaimed it to be "the most valuable book we have on old-time frontier ways and customs."* Although never much to look at, not being an example of fine printing and lacking illustrations, it is cherished today.  Written by a pioneer minister, physician and historian, it is regarded as being accurate and knowledgeable about the United States' early westward expansion. The volume also contains some of the ever-popular Indian captivity narratives. 

This copy can provide the researcher with some information about early American book ownership and reading habits. "Steal not this book" at least brings a chuckle to the modern reader!

Julia Blakely

Special Collections Cataloger      
Smithsonian Libraries

*quoted in J. Merton England, "Some Early Historians of Western Virginia," West Virginia History, January 1953. 

Exhibition Records: Source for Discovering Hidden Treasures

Exhibition records contain files which document the planning, organizing, execution, and promotion of an exhibition.  The material can include multiple versions of the exhibit script, brochures, press coverage, education packets, floor plans, catalogues, installation imagery, administrative records, correspondence, and research files.  Besides these types of documents, exhibition records often offer a wealth of primary resources suitable for scholarly research though sometimes hidden within the collection due to the lack of detail collection level description.  For example, Black Mosaic:  Community, Race, and Ethnicity Among Black Immigrants in Washington, D.C., exhibition records in the Anacostia Community Museum Archives, contain photographs, as well as oral history interviews critical to the study of Latinos in Washington, D.C.   The imagery of and interviews with Latino participants were created during the pivotal period of 1991-1995 following the Mt. Pleasant Riots, and document those who worked to organize and rebuild the local community in the wake of the 1991 riots.

Black Mosaic was a ground breaking exhibition that explored the cultural, national, linguistic, and social diversity responsible for enriching Black community life in the Washington, D.C., area.  The multilingual and multicultural exhibition was about people their dreams and memories, and their sense of self and community.  It explored local migration and immigration and wouldn’t have been possible without the participation of  local community leaders from Costa Rica, Brazil, Puerto Rico, Jamaica, Panama, Cuba, Ghana, Dominican Republic, and Haiti to name a few.  The research conducted for the exhibition in partnership with community scholars resulted in a vast archival collection in and of itself. 

Installation image, Black Mosaic Exhibiton Records, B1, F3
Anacostia Community Museum Archives

Exhibition records similar to Black Mosaic frequently contain valuable resources which make exhibition records an invaluable source for conducting scholarly and community research. In turn, perhaps archivists and catalogers should revisit how we describe exhibition records.  Enhanced descriptive cataloguing of these records and digitization projects would probably facilitate greater discoverability of hidden resources similar to the Mt. Pleasant Riots materials within exhibition records!

Blogs across the Smithsonian will give an inside look at the Institution’s archival collections and practices during a month long blogathon in celebration of October’s American Archives Month. See additional posts from our other participating blogs, as well as related events and resources, on the Smithsonian’s Archives Month website.

Jennifer Morris
Archivist
Anacostia Community Museum Archives

Living to Tell the Story: Philip K. Lundeberg's Oral History

U.S.S. Frederick C. Davis sinking in the North Atlantic Ocean, 24 April 1945.
Smithsonian Institution Archives, Accession 08-003, Negative number SIA2007-0164

 This is the last image of the destroyer escort, the U.S.S. Frederick C. Davis, taking on April 24, 1945, at the end of the Battle of the Atlantic during World War II. Curator Emeritus Philip K. Lundeberg of the National Museum of American History, was aboard that ship as it sank into the cold Atlantic. His oral history interview, located in the Smithsonian Institution Archives, tells the story of the torpedo attack, how he survived it, and his subsequent research on that pivotal event in his life. While we often say that one picture is worth a thousand words, it takes words to explain this picture, especially Dr. Lundeberg’s relationship to it, how he survived the sinking and its impact on his life.

The Smithsonian Institution Archives, as well as other units across the Institution, preserve and build oral history collections to enhance the written documentation of the archival record and manuscript collections. To explore more of these collections visit the Collections Search Center.

Pamela Henson, Institutional History Division, Smithsonian Institution Archives

Printmaking with Lou Stovall: A Treasure on 16mm

Lou Stovall is a prominent  D.C.-based artist who specializes in silkscreen printmaking. In 1983, the  
Smithsonian Anacostia Community Museum (ACM) showcased the work of Lou and his wife Di in the exhibition “Through Their Eyes: The Art of Lou and Di Stovall,” which was on view from September 18 to December 18, 1983.

The film Lou Stovall was produced for the 1983 exhibition at the ACM. The film's director, Sharon Reickens, is still on board at ACM as the Museum’s Deputy Director.  Lou Stovall takes the audience through Stovall’s entire printmaking process. The 14 minute film was shot on 16mm and was filmed on-site in Stovall’s Newark St. studio over the course of one week. It includes shots of completed works, works-in-progress, and Stovall and his two assistants at work along with commentary from the artist, who explains what he is doing as the audience sees it. The film is shot in a manner that evokes the mechanical nature of Stovall's art form, with many extreme close-ups of his hands at work. This mirrors commentary from the artist, who discusses the "artistic" vs. "mechanical" aspects of printmaking. 

In addition to providing filmic documentation of local art and culture as it follows the artistic process of the film’s namesake, who is oft referred to as the “dean of printmaking in D.C,” Lou Stovall also serves as a document of an artistic process as it related to artists in the 1980s. This makes the film a useful historical record in looking at the trajectory of silkscreening - a process that dates back to China's Song Dynasty and was popularized as a modern art form by Andy Warhol in the 1960s.

While the film was initially projected as part of the exhibition for which it was produced, Lou Stovall was also selected as a finalist in the Educational Film Industry Association’s 26^th Annual American Film Festival in New York in 1984. It also won the 1984 CINE Golden Eagle Film and Video Competition in the category of The Arts. 

The film now exists in video form as part the DVD compilation Black History: From Civil War Through Today, which is still available on the marketplace and held by a number of libraries, but the only known 16mm film prints are housed  in the Anacostia Community Museum Archives along with the original Eastman Color Negatives.

Top: Lou Stovall painting in his studio. Bottom: Lou Stovall being filmed in his studio.
Photographs from ACM Archives' exhibit records. 

Museum patrons watch the film at the exhibit opening on September 18, 1983. Photograph from ACM Archives' exhibit records. 

 

Blogs across the Smithsonian will give an inside look at the Institution’s archival collections and practices during a month long blogathon in celebration of October’s American Archives Month. See additional posts from our other participating blogs, as well as related events and resources, on the Smithsonian’s Archives Month website.

Taylor McBride, Audiovisual Archivist
Smithsonian Anacostia Community Museum

Buck Run: Unexpected Treasure

SATURDAY, OCTOBER 20 IS HOME MOVIE DAY!

“How to present, in language, the shimmering, ever-shifting life of a place? The most obvious means, the documentary film, has its limitations: the filmmaker can record hours of visual imagery, he can interview subjects, and we can overhear subjects speaking, but we cannot hear their inner voices, and we cannot see the world inside their heads. A kaleidoscope of fascinating and “authentic” images can pass before our eyes as viewers, but we can’t interpret these images through the prism of consciousness, with its myriad histories, that is the soul of a place. We are forever viewers, voyeurs.” From  Joyce Carol Oates review of Zadie Smith’s new novel NW (New York Review of Books, September 27, 2012, pp 20-24)

In 1983 the Human Studies Film Archives received a collection of amateur films documenting coal mining and home life in Schuylkill County, Pennsylvania—a way of life no longer lived.  We had a name of the person who created the film, Benjamin Harrison Hay.  And that was all. 

Come 2012 we know much more thanks to the research of Father Elijah Bremer (priest/historian, adjunct instructor, Pennsylvania Highlands Community College, Johnstown, Pennsylvania) who has now published a book, The Great Chance: James B. Neale and the Anthracite Industry’s Forgotten Experiment on this remarkable community that no longer exists.  Still, we may not know the inner most thoughts of the inhabitants of Buck Run, in the Foster Township approximately 4 miles west of Minersville Borough and 1 mile east of Minersville Exit off Interstate 81 but we do know that this “kaleidoscope of fascinating” images have the power to profoundly move people.

Created by two 1896 graduates of Yale, Buck Run was an anthracite company town built for the operators, manager, and employees of the Buck Run Coal Company (1902-1950).  James Neale set about to create an idyllic town for the benefit of his workers with a new school, a health clinic, running water, electricity, steam heat and more enlightened amenties.  The only remnant of the town that remains is Neale’s mansion which was slated to be demolished by the township.  Benjamin Harrison Hay was the general manager and vice president of the company who was also Neale’s brother-in-law. 

James Neale Mansion
Photo courtesy of Fr. Elijah Bremer

To announce the publication of his book in 2011, Fr. Bremer hosted a local screening of the coal film and some of the home movies.  The response of the “viewers” and “voyeurs” is captured in Fr. Bremer's July 19, 2012 email:

“The most immediate result is nothing short of a miracle.  After seeing the film at my public presentation in Trinity Chapel, Buck Run, an affluent Virginian (born in Buck Run) committed $525,000.00 to the purchase and restoration of the Neale Mansion!  It's a preservationist "dream come true."  Additionally, a preservation group has been working with the Foster Twp. Supervisors to plan grants, hiking trails, and tourism initiatives.  We're plugging ahead with an archive facility for the town, and I myself have become quite a collector of National Fuel Administration artifacts.  I have even arranged for the local water authority to recover two sections of the wooden water pipe pictured in the video--it's still there!

On a more personal note, one of my audience members (80+ years old) met the video with tears--she identified her father in a shot that panned over the miners faces.  A student of mine helped create a 17 minute synopsis of the film (with full credits given to Hay & the SI) set to music.  Overall, it has been very well received.  Every US History II class I teach gets to see Ben Hay's film!”

From a more recent email asking permission to quote from his above email, Fr. Bremer wrote:

“Your work is invaluable, and the combined efforts of the Smithsonian, Foster Township, and my own "Great Chance" has produced so many unexpected good works that I can hardly believe it!  My mind keeps returning to the scriptural quote from Matthew:  "May thy light so shine before men, that they may see thy good works and glorify our Father who is in heaven..."  Quite fitting for miners, who spent their working days in darkness, but whose "light" produced so many good things for society.”

Although it is true that we cannot “see the world in their heads” we can learn about the world around them through these personal films that survived when so many others have not. Although, “we can’t interpret these images through the prism of consciousness, with its myriad histories”, we can, because we, like them, are defined by and define the place in which we inhabit, identify through our longings and imaginations with “the soul of a place” long gone.

Take Ten Minutes to Tag for the Archives of American Gardens

Blogs across the Smithsonian will give an inside look at the Institution’s archival collections and practices during a month long blogathon in celebration of October’s American Archives Month. See additional posts from our other participating blogs, as well as related events and resources, on the Smithsonian’s Archives Month website.

 

The Archives of American Gardens is using social media via Facebook 

and Twitter to promote public tagging in the Smithsonian’s Collections Search Center

As part of the American Archives Month celebration, the Archives of American Gardens is encouraging the public to ‘tag’ their online records in the Smithsonian’s Collections Search Center.  A little over a year ago, the Smithsonian’s Collections Search Center quietly turned on the tagging feature for records of participating Smithsonian archives, libraries and museums and now the Archives of American Gardens is hoping to use American Archives Month to promote this feature. The Archives is reaching out to Facebook followers of Smithsonian Gardens, universities with library and information science programs as well as horticulture programs to to contribute descriptive terms, keywords, or short phrases, to an item’s record to enhance searching on its records.  If a user describes an item in the same way that they would search for it, the presumption is that these new terms will help with the retrievability of the records.  For each tag that is added, that item has another access point – another way for other users to discover that item.   

Although public tagging is not perfect and many questions remain about how folksonomy might function in the museum, a summary in a 2009 report by the steve.museum project finds that, “Tags offer another layer that supplements and complements the documentation provided by professional museum cataloguers.” So while tagging is not meant to be a replacement for established cataloging methods, it may complement the catalog with a helpful element of user engagement and interaction.

Get Tagging! Visit the Archives of American Gardens Virtual Volunteer page to get started on tagging images.

Jessica Short, Intern
Archives of American Gardens
Smithsonian Gardens

Hidden Treasures in the ACM Archives: The Atlanta Interfaith Broadcasters Collection

Atlanta Interfaith Broadcasters (AIB) began broadcasting religious programming in 1969. Inspired by the diverse religious communities of the Atlanta, GA region, Rev. John H. Allen founded the network with the goal of allowing people from all communities and faiths to share their stories with the public. AIB is still operational and is the nation’s largest regional interfaith network.

In 1991, AIB gifted a collection of video oral histories collected from 1989-1994 to the Anacostia Community Museum.  The collection is comprised of 160 analog videotapes, all in the ¾” U-matic format, which was the most common video format used by broadcasters at the time. The collection includes interviews from an array of African-American religious and community leaders from the Atlanta region, many of whom were involved in the Civil Rights Movement. There are also recordings of select worship services, conferences, and celebrations. The histories document not only the religions of the area, but also the ways of life and the struggle for civil rights in both urban and rural areas of Georgia as remembered by pastors, reverends, soldiers, school teachers, radio announcers, journalists, and more. 

Some notable interviews are those of Rev. Dr. C.T. Vivian, who served on Dr. Martin Luther King’s executive staff under Dr. King’s direct supervision and C.A. Scott, co-founder, editor and publisher of the Atlanta Daily World newspaper. There are also a number of tapes about Women 'N Touch Ministry, which brought women ministers from around the country to deliver guest sermons, including interviews with the Ministry's founder, Rev. Lorraine White.

The AIB collection, along with the other audiovisual materials in the Anacostia Community Museum Archives, is currently being inventoried and cataloged at the item level to provide researchers with more access to these historic materials and free the collection of its status as a "hidden" treasure. 

View the AIB Collection Record in SIRIS

For more on AIB and its current programming, visit http://aibtv.com/.

Blogs across the Smithsonian will give an inside look at the Institution’s archival collections and practices during a month long blogathon in celebration of October’s American Archives Month. See additional posts from our other participating blogs, as well as related events and resources, on the Smithsonian’s Archives Month website.

Taylor McBride, Audiovisual Archivist
Smithsonian Anacostia Community Museum

Collaboration Expands Access to Archival Resources

American Archives Month is a perfect time to provide an update on the Frederick Douglass Dwellings Collection. Since my previous post, our museum partnered with the Community Voice Project of American University’s School of Communication to create a short film by students that documents the memories of residents of the former Frederick Douglass Dwellings housing project. The film, The Only People in Town, was filmed partly in our archives and incorporates archival materials from two collections which visually capture the social activities in the community sponsored by the local recreation center during the 1940s. As an archivist, I am excited to see the resources of our archives used to recall detailed memories and instill a sense of pride in the residents about their former community. Archives helped tell this story of life in a World War II-era housing development built for African Americans. I also believed exposure to our resources helped the anthropology students from the American University College of Arts and Sciences and film students from the School of Communication realize the value of archives and the archivist’s role in providing access to research and film-worthy materials.         







Jennifer Morris
Archivist
Anacostia Community Museum Archives

Finding Family in Finding Aids

In a conversation about complacency, a good friend shared a common word used in her country that changed my worldview about life: heimskur. The word heimskur, which means “stupid” in Icelandic, carries a negative connotation to describe a person who is narrow-minded in his/her thinking because of one’s failure to venture outside of his/her comfort zone to explore the ways of non-Icelandic Islanders, a mindset that counters cultural practice. Reflecting upon my personal experiences of traveling abroad and teaching in different countries, I am reminded of how heimskur could hinder one from exploring opportunities that may create personal and business enhancements.

A lot of Americans, including myself, have experienced lay-offs that have resulted in personal setbacks and financial challenges because of the state of the economy. Some people decide to stay at home, while others venture to discover ways to improve professional skills that are already in place. Thus, I chose the latter course. Dissatisfied with my current unemployment situation, I began to seek volunteer jobs to complement my educational objectives, passion for fine arts, and fascination for history.

My break came when I applied for a behind-the-scenes volunteer position at the Smithsonian, where I now assist with projects in the Anacostia Community Museum Archives. And now that I reflect upon my capacity at the museum, I clearly see how my recent discussion about the word heimskur is relevant to my life going forward, yet in a positive connotation. I am now better informed about world views as seen through the eyes of a researcher and the work of archivists.

Upon discovery of this position, I immediately saw the advantage of my joining the institution because it complemented my 15 years of research and compilation of genealogy work that was conducted on my maternal relatives, resulting in tracing ancestors to the 14th century. Thus, my passion for lineage and my research experience are skill sets that will be applied to my educational goals as I aspire to be a historian once I complete my graduate degree. Therefore, I share my anecdote to attest that achieving a personal goal is possible with determination, commitment, and sacrifice.

My first project consisted of audio reviews of Langston Hughes' lectures present in the Lorenzo Dow Turner papers; I compiled content descriptions so that information can be accessed by researchers by way of electronic media. Occasionally I assist researchers in the reading room with queries on where to locate additional resources in support of their professional or personal objectives. I have also become familiar with arranging and describing archival materials through finding aids. Through this process I made a surprising discovery in the John H. Pye papers.

White House retirement card,John H. Pye papers.

Stumbling across a document presented to John H. Pye that commemorated his job well done as a White House chauffeur led me to a recent discovery of a relative who was a colleague of Mr. Pye in the early 1950s. This finding was different than that of my own; it was a pleasant surprise for me to locate ancestral literature almost at my finger tips in an archival repository instead of only finding materials through traditional methods of months and months of library searching and courthouse visits. Through this volunteer position, I have gained an understanding of the benefits in consulting archival resources, whether it is for personal or business use. Knowledge about archival materials may assist you in locating the correct information or you just might find a piece of your family puzzle in a finding aid!

Antony Arnold
Behind-the-scenes Volunteer

Where in the World is Alexander Wetmore?

Alexander Wetmore and
Watson Perrygo, Chico, Panama

As a young girl I loved playing “Where in the World is Carmen Sandiego.” The game intertwined history, geography and crime solving. It was awesome. So, it is to no surprise that I have become engaged and interested in the possibilities geo-tagging has for our archival collections. Geo-tagging is the process of adding geographic information metadata to images, audio files, video files, etc. This information helps create maps, which brings the historical record to life and allows users to interact with collections.

To start out in the geo-tagging realm, I decided to use our collection of Alexander Wetmore images to get our feet wet. Wetmore, the sixth Secretary of the Smithsonian and an ornithologist, amassed thousands of images over a twenty year span from his ornithological expeditions to Panama and so we decided that this would be an excellent test for cataloguing the geographic data.  To begin adding the geographic information to the records we started with a cataloguing field that included information about the Country, State Provence, County, City, Community/Neighborhood, Site (i.e.: temple, statue, river), Notes, Latitude, and Longitude.  What I have found is that finding the latitude and longitude, though often a difficult endeavor, is the most useful information when providing geo-tag information. 


Google Map of Wetmore Image
Latitude and Longitude Point

Fortunately for me, the Wetmore images include full caption information and usually provide the location where the image was taken. What makes finding the latitude and longitude difficult is that the images are often in remote locations. The caption often mentions a nearby river or village, but not the exact latitude and longitude.  Essentially we create an educated best guess on the latitude and longitude based on the nearby village name, what river Wetmore was traveling that day and what the other images taken on that day showed. Once you have a latitude and longitude, linking the image to a Google map is easy.


Collections Search Center Record



First you enter the latitude and longitude into the Google Maps search bar. When the search result appears it will come up as a red pin point. Right click on that pin point and click on “What’s Here?” After clicking on that option a green arrow will appear. This has created a stable link that you can now use on a website with your records. To copy the link go to the top right of the tool bar and click on the link icon. A dropdown menu will appear that provides you with a url. We utilized the information two ways. First we have added the Google url to the individual records in our Collections Search Center. We have also created a map that users can explore to see where the records are from.

An interesting challenge that has arisen during the cataloguing process deals with areas that have changed names and borders over time. Several of the villages visited by Wetmore have been renamed. Additionally, local names do not always jive with those known to Google Maps. To reconcile the difference we quickly realized that the modern name has to be used in the geographic information, but a detailed note about the name history of the area is necessary to make the record as accurate as possible. Likewise, borders change over time. Borders shift due to politics and war. Once again we have to rely on a detailed note field that explains the history of the border change. It is important to keep all of this information with the record so that users will understand why the image might say Alexander Wetmore in Panama, but be located in Colombia.

Collections Search Generated
Wetmore Panama Map

What I find to be the most interesting thing about mapping the images to Google are the modern day images that show up in the sidebar of the map. It is really fascinating to look at an area and compare and contrast to what it looked like over sixty years ago. This then and now comparison is also a vital part of another geo-tagging project the Smithsonian Institution Archives is involved with. Recently, SIA  has just launched a host of images in HistoryPin.  HistoryPin is an online database of images historical and modern from across the globe. We have recently added historical images of the Smithsonian’s museums to the site. For more information about this interesting new project check out this post on The Bigger Picture Blog.

Geo-tagging images literally puts the world at your finger tips. You can track a historic expedition over times, see the trends that may emerge from places where artifacts were sent, and compare what the landscape of a city looked like in the past to modern day and have your own geographical adventure.

Courtney Esposito, Institutional History Division, Smithsonian Institution Archives