Institutional Report. For my report, I chose to visit the Ralph Rinzler Folklife Archives located in Washington,

Transcription

1 1 David Klimowicz INFO /11/12 Institutional Report For my report, I chose to visit the Ralph Rinzler Folklife Archives located in Washington, D.C. Within a few days of initial contact via , I booked a train ticket and headed to speak with the repository s head archivist Jeff Place. There are two major collections within the archives. The first being the Moses and Frances Asch collection which consists of original recordings, photographs, and other records acquired by the Smithsonian with the purchase of Folkways Records in The second major collection consists of written, audio, and visual records of exhibits sponsored by the Center for Folklife and Cultural Heritage. Most of what fills the shelves is of the audio nature, but varies in format. These holdings are global in perspective, including world ethnic music as well as American traditional music. Jeff was kind enough to sit down with me, answer the numerous questions I had, and then follow up the interview with a tour of the archives. Mission: Although there is no distinct mission statement of the repository, the Folklife Center s statement is: The Smithsonian Center for Folklife and Cultural Heritage is dedicated to supporting cultural diversity and increased understanding among peoples through the documentation, preservation, and dissemination of sound. Through this dissemination we seek to strengthen people s engagement with their own cultural heritage and to enhance their awareness and appreciation of the cultural heritage of others. Because both the archive and the Folklife Center are a part of the Smithsonian Institute, this too has a more succinct mission

2 2 statement of: The increase and diffusion of knowledge. Although neither statement is specific to the archives, combined together they provide good guidelines for the archivists to follow. Scope: The Rinzler Archives follows a collection policy of the Center for Folklife and Cultural Heritage. The policy states that collection only occurs if there is intention to use the records to further the center s mission through publications, web sites, and public programs. Outside materials are collected on a very limited basis while the majority of the collecting revolves around materials generated by the work of the Center for Folklife and Cultural Heritage itself, primarily through the Smithsonian Folklife Festival. Music reels, video, and documentation of the festival are all kept within the archives. The center also collects record company collections which aim to document the world in sound, but only when all of the publishing rights are turned over to the center. This allows for the center to distribute the recordings. Other collections are sometimes added if they relate to pre-existing collections or if they are related to important figures connected with the center. Some published materials are collected if they complement the archives strengths such as world traditional music, sounds of the Civil Rights and labor movements, and other culturally relevant styles. Access: Finding aids are available within the repository and are continuously updated because of the annual Smithsonian Folklife Festival. Each year the archivists must document the people involved with organizing and presenting the festival, the musicians who perform, and record the

3 3 show. Users often call to locate specific song lyrics, and based on the archivists experience and specialty along with ability to search multiple databases, they can provide the information. The repository also welcomes users to visit, put on headphones, and listen to any of the albums from Ralph Rinzler s extensive collection of vinyl. Regarding online access, users may browse the Smithsonian Institution Research Information System (SIRIS). SIRIS has created national standards for managing, describing, and providing access to researchers when they are searching branches of the Smithsonian. Indexing for finding aids is available on the Folkways website and provides users with guides to each collection. Some recordings are also available on the Folkways website. Public Service: The archivists provide reference service in various ways. As previously stated, many users wish to receive lyrics and Jeff and Stephanie Smith, the assistant archivist, accommodate their users at no charge. Copies are also attainable by way of converting recordings to mp3s, and ultimately burned onto compact discs. However, if the recordings are commercially available, users must purchase the song or album. Many unique recordings, such as radio broadcasts, cannot be converted into CDs due to file size, but Jeff encourages users to visit the repository to listen and take notes if necessary. The atmosphere was very welcoming and seems like a great place for researchers to work. Preservation: Preservation for the repository s collections is done in various ways. One of the main goals for the entire collection is to digitize the masters of albums. Jeff was very adamant on

4 4 digitization which embeds metadata onto discs. However, he reiterated that creating mp3s is not a perfect preservation technique, but is a more efficient way to reach additional users. Unique formats such as open reel tape and cassette decks require prioritization because their medium is not as long lasting as some of the other formats and is more subject to deterioration of quality. On the other hand, vinyl records are long lasting with the proper care and handling and require no real need for the repository to take special preservation measures. Determining priorities is an important part of the preservation process. This is mainly done based on a judgment of uniqueness (musicians with fewer recordings) or necessity for preservation (deteriorating or sticky tapes). Technical preservation aspects include acid free paper and envelope usage. The environmental aspects are also important. Air conditioned units aim to keep the temperature between 68 and 72 degrees, but Jeff stated this often fluctuates too much. Humidity is controlled at 40%. Security: The repository s collection seemed to be rather secure. In order to get into the collection, I had to alert the receptionist of my meeting with Jeff before I was brought back to the area, but I did not have to sign any documentation. The reading room, or listening room, is located right outside Jeff s office and seemed to be easily visible at all times. Shelves cover the walls from floor to ceiling with vinyl records in the listening room. If a user desired to take a record off the shelf and listen to it, proper documentation would have to be procured. When the tour of the archives began, a key was used to unlock the door. Once inside there was a lack of descriptive labeling on the shelves, which also can act as a security measure.

5 5 Outreach: The repository does not do any outreach, however the Folklife Center does. This includes the aforementioned annual concert along with learning guides, lesson plans, documentaries, and various publications. One of the most important types of outreach is through the re-mastering and rereleasing of albums. Although the repository does not participate in the outreach, it is indirectly affecting these activities. When asked who the target audience of the repository is, Jeff simply replied, Everyone. The Repository: The overall size of the repository is about 7,000 square feet. Located on one floor, around 80,000 audio records are stored here. Currently the staff includes two archivists and three researchers on contract money. Many of their records are large and bulky, which is a primary reason why the space is not adequate. The Smithsonian s National Anthropological Archives provide the Ralph Rinzler Archives with extra storage for the overflow of records. Conclusion: Much of what we have covered in our course thus far was witnessed through my interview and tour of the Ralph Rinzler Archives. I was able to observe security measures, how a repository is organized, different types of storage, and many other things we have discussed in class. However, even in a national archive such as this one, resources are rather limited. Budget limitations for a national repository make me believe that archives across the world face similar issues. Because of this, repositories must prioritize their needs and balance this with the needs of

6 6 users. Although this is the case, Jeff was very pleased with the successes and usage of the Ralph Rinzler Archives. Overall, I am very glad I was given the opportunity to visit an archival repository such as this one. Ever since I was a child, music has played a very important role in my life. To be able to see how our country preserves records which have been an influence to society throughout our nation s history, and also to me and others on a personal level has been an honor. Combining my visit with what I have learned thus far, I am sure I am on the right path to providing preservation and access to music I certify that: This paper/project/exam is entirely my own work. I have not quoted the words of any other person from a printed source or a website without indicating what has been quoted and providing an appropriate citation. I have not submitted this paper / project to satisfy the requirements of any other course. Signature David Klimowicz Date 11/11/12