Bill Monroe--Uncle Pen--Intro--I haven't seen Mary in years--Bluegrass breakdown--Muleskinner blues--Footprints in the snow--Blue moon of Kentucky--Rawhide--I saw the light--The old old house--Billy in the lowground--Clinch Mountain backstep (with Tex Logan)--unk.--On and on--Orange blossom special--Close by--John Henry

Sail away ladies--John Brown's dream (Walt Koken); Sally goodin--Blues jam (Henry Tarsend); Blackberry blossom--Anyplace I hang my wing I call my home (Bob Potts); Eight of January--Tom and Jerry (Tabernacle String Band); Fire on the mountain--Orange Blossom Special (Jeff Wisor); Golden slippers--Sandy River belle (Carl Kaplan)- Flowers of Edinburg...

Danse de Mardi Gras ; Lacassine special ; La valse du Bambocheur ; Hackberry hop ; Valse des platains ; Lake Arthur stomp ; Parlez-vous ar boire (Balfa Frerres). La valse d'Orphelin ; Les flammes d'enfer ; T'as fini de me voir (Austin Pitre & the Evangeline Playboys). Hack a'tit moreau ; Si j'aurais des ailes ; La ville de Monteau ; Ou t'ertais mer...

101 Danse de Mardi Gras / Balfa Brothers. Fiddle,Accordion,Triangle (Musical instrument). 102 Lacassine Special / Balfa Brothers. Fiddle,Accordion,Triangle (Musical instrument). 103 La Valse du Bambocheur / Balfa Brothers. Fiddle,Accordion,Triangle (Musical instrument). 104 Hackberry Hop / Balfa Brothers. Fiddle,Accordion,Triangle (Musical instr...

101 Tit Monde (Little Friend) / Magnolia Sisters, Ann Allen Savoy, Jane Vidrine. Accordion,Fiddle,Guitar,Triangle (Musical instrument). 102 Chere Bassette (Dear Little Woman) / Magnolia Sisters, Ann Allen Savoy, Jane Vidrine. Accordion,Fiddle,Guitar,Triangle (Musical instrument). 103 Sur la Bord de L'eau (By the Water's Edge) / Magnolia Sisters, ...

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.

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.

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.

The William Wildschut photograph collection contains 183 photographic negatives, and 89 post cards. From 1917 to 1928 William Wildschut studied the Apsáalooke people through interviews, photography, and the collection of cultural objects. In 1921 Wildschut was hired as a field man by George Gustav Heye the director of the Museum of the American Indian, Wildschut officially collected and conducted field expeditions in Montana, Wyoming, Idaho, Canada, and North Dakota on behalf of the Museum until 1928. Wildschuts photographs include portrait style photos of Apsáalooke people, special events, daily reservation life, interments, and encampments. Tribes represented in this collection are primarily Apsáalooke, the postcard collection consists of other tribes including Lakota, Arapaho, and other unidentified tribes.

This collection consists of 11.9 cubic feet of material chronicling Lee Ya-Ching's role as a pilot trying to raise funds for China during World War II. The collection contains the following types of material: correspondence, both official and personal; maps; publications; newspapers; invitation; programs from events; lecture notes; scripts from radio shows; photographs, both official and snapshots; trip schedules and agendas; address books; scrapbooks; and official paperwork and licenses.