Mexican America - Resources and Credits
This section contains educational materials to supplement your journey through Mexican America as illustrated by the collections of the National Museum of American History.
The glossary explains some of the terms used to talk about the history and peoples of Mexico and the American West and Southwest.
The national borders of Mexico have changed radically between the start of the Aztec Empire in the 14th century and the present. See Mexican maps from the collections of the University of Texas Libraries.
Scenes and figures from postcards commemorating the American West and Southwest from the Victor A. Blenkle Postcard Collection, Archives Center, National Museum of American History, Smithsonian Institution.
- Colonia outside of El Paso (circa 1920)
- David Crockett
- Greetings from San Antonio, Texas (The Alamo)
- Mexican Home, New Mexico (circa 1925)
- Old Spanish Days (circa 1925)
Historical scenes and figures from Mexico from the Victor A. Blenkle Postcard Collection, Archives Center, National Museum of American History, Smithsonian Institution.
- Avenida A Tijuana (circa 1910)
- Basílica de Nuestra Señora de Guadalupe (circa 1925)
- Calle del Comercio Ciudad Juárez (circa 1925)
- Mexican Market Scene (undated photograph)
- Quetzalcoatl
- Taxco, Guerrero (circa 1910)
- Temple of Quetzalcoatl, Teotihuacan (circa 1910)
Other Smithsonian Institution projects about the peoples of Mexico and their descendants, culture, and environment.
For additional information on the history of Mexico, Mexican Americans, and the diverse peoples of the American West and Southwest, please see the bibliography.
Esta sección contiene materiales educativos a fin de complementar el recorrido a través de la América Mexicana ilustrado por objetos provenientes de las colecciones del Museo Nacional de Historia Americana.
Pulsando sobre el enlace que se observa a continuación se puede acceder a un glosario donde se explican algunos de los términos usados para referirse a la historia y a los pueblos de México, tanto como del oeste y sudoeste de América.
Los límites nacionales de México han cambiado radicalmente entre los comienzos del Imperio Azteca en el siglo XIV y el presente. Pulse el siguiente enlace para ver mapas de México de las colecciones de las Bibliotecas de la Universidad .de Texas.
Pulsar los siguientes enlaces para ver tarjetas con escenas y figuras, y fotos conmemorativas del oeste y sudoeste americano de la Colección de Postales Victor A. Blenkle, Archives Center, National Museum of American History, Smithsonian Institution.
- Colonia en las afueras de El Paso (ca. 1920)
- David Crockett
- Saludos desde San Antonio, Texas
- Hogar Mexicano, Nuevo México (ca. 1925)
- Viejos Tiempos Españoles (ca. 1925)
Pulsar los siguientes enlaces para ver escenas y figuras históricas de México.
- Avenida A Tijuana (ca. 1910)
- Basílica de Nuestra Señora de Guadalupe (ca. 1925)
- Calle del Comercio Ciudad Juárez (ca. 1925)
- Escena de un Mercado Mexicano (foto sin fecha)
- Quetzalcoatl
- Taxco, Guerrero (circa 1910)
- Templo de Quetzalcoatl, Teotihuacan (ca. 1910)
Pulsar los siguientes enlaces para ver otros proyectos de la Institución Smithsonian acerca de los pueblos de México y sus descendientes, su cultura y su entorno.
Para mayor información sobre la historia de México, los mexicoamericanos y los diversos pueblos del oeste y sudoeste americano, por favor pulsar sobre el enlace de bibliografía a continuación.
The Mexican America object group is a collective effort of the staff of the National Museum of American History, Kenneth E. Behring Center: Division of Home and Community Life; Division of Information Technology and Communications; Division of Music, Sports and Entertainment; Division of Politics and Reform; New Media Program; Program in Latino History and Culture; Office and Museum Management and Services; and Registration Services.
Special thanks to Diana Taggart and Michelle Sánchez.
El grupo de objetos América Mexicana es un esfuerzo conjunto del personal del Museo Nacional de Historia Americana, del Centro Kenneth E. Behring: División de Vida en el Hogar y la Comunidad; División de Tecnología Informativa y Comunicaciones; División de Música, Deportes y Entretenimiento; División de Política y Reforma; Programa de Nuevos Medios de Comunicación; Programa de Historia y Cultura Latinas; La Oficina de Gestión y Servicios de Museo; y la Oficina de Servicios de Adquisiciones.
Un agradecimiento especial a Diana Taggart y Michelle Sánchez.
"Mexican America - Resources and Credits" showing 7151 items.
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- This record comes from another Smithsonian unit: Human Studies Film ArchivesNo Image Available
Film Studies of Traditional Tibetan Life and Culture: Ladakh, India, 1978 86.13.4-3OP "D"
- Notes
- title derived from name of project (unpublished work)--archival collection
- field notes and logs
- Summary
- Slide photographs shot in Lamayuru Village, Ladakh, India. Numbers 1 man in three eyed diesty costume dancing infront of stone wall; 2-6 man in deer mask and blueish costume dancing; 7 men in diety costumes dancing infront of crowd of people sitting on ground; 8 boy in grey robe beside man in diety costume and tall ornate hat dancing infront of crowd of people sitting on ground; 9-10 men in colorful diety masks and costumes, dancing in courtyard; 11-12 mountains with snow in the background, people stqanding on rooftop; 13-14 courtyard surrounded by buildings with people crowded on and around them, monks in diety costumes dancing in circle in courtyard, mountains in background; 15 men in courtyard dancing in circles wearing diety costumes; 16 same as 13-14; 17-18 men lined by wall in courtyard dancing in diety costumes, buildings and people surrounding the courtyard; 19-20 same as 17-18 but with separate man in costume and tall ornagte hat dancing in middle of courtyard; 21 man in black diety mask and cotume, dancing around courtyard; 22-23 line of men in diety and deet masks and costumes, dancing in line of pairs in courtyard; 24-26 monks playing
(long horns) leading line of men in costume in courtyard, monks with tall red hats; 27 men near crowd in costumes dancing in courtyard; 28 monks in costumes dancing in circle near crowd in courtyard; 29 monks in circle dancing infront of wall with crowd of men in costume by it; 30 same as 28 but with man in costume and tall ornate hat dancing in center of courtyard; 31-32 same as 28; 33-37same as 15
- Date
- 1978
- D
- Creator
- Sorenson, E. Richard
- Local number
- HSFA 86.13.4-3OP
- Data Source
- Human Studies Film Archives
- This record comes from another Smithsonian unit: Human Studies Film ArchivesNo Image Available
Lens Behind the Iron Curtain 1965 part 1
- Notes
- title from credits (published work)--archival collection
- supplementary materials: production notebooks; research materials; technical writings; screening logs; amateur cinema newsletters, awards and programs; and still photographs
- Cataloger notes that the film is broken up into three parts, each with its own opening title screen, although, the narrative seems to be continuous and the footage likely follows the original chronological order of the guided tour. The footage is well edited and includes voiceover commentary by F.L. Kreznar and background music. This footage was shot silent with no live audio recorded during the tour
- Summary
- Edited film created by Frank L. Kreznar, an award winning amateur filmmaker, with assistance from his wife during a guided tour of the Soviet Union in 1965. Film consists of footage of Moscow and Leningrad mainly of public places with a special emphasis on historically important buildings. Throughout the footage Kreznar shows modern apartment buildings as they are being constructed, with his commentary discussing the Soviets' efforts to modernize the territories under their control and the recent population growth in these cities. Kreznar is also interested in the modes of public transportation in each city - such as street cars or the metro in Moscow. Kreznar notes that most automobile production in the Soviet Union focuses on trucks for work while cars are considered a rare luxury for private citizens. He also discusses the high volume of pedestrian traffic. Kreznar also takes an interest in religion in this footage, showing churches in disrepair or having been de-sanctified and converted into housing, museums, or other government administrated buildings. Kreznar notes that this is due to the Soviet government's anti-religious policy, but he also shows some churches under recently started restoration due to the government's realization of the touristic value of these sites. Film includes occasional shots of people working, mainly in outdoor produce markets. Women are shown doing road construction in Moscow as well as various public parks, swimming pools, and other public recreation areas, with a special emphasis on how the Soviet government has given children places to play
- Date
- 1965
- Local number
- HSFA 97.17.9
- Data Source
- Human Studies Film Archives
- This record comes from another Smithsonian unit: Human Studies Film ArchivesNo Image Available
Lens Behind the Iron Curtain 1965 part 2
- Notes
- title from credits (published work)--archival collection
- supplementary materials: production notebooks; research materials; technical writings; screening logs; amateur cinema newsletters, awards and programs; and still photographs
- Cataloger notes that the film is broken up into three parts, each with its own opening title screen, although, the narrative seems to be continuous and the footage likely follows the original chronological order of the guided tour. The footage is well edited and includes voiceover commentary by F.L. Kreznar and background music. This footage was shot silent with no live audio recorded during the tour
- Summary
- Edited film created by Frank L. Kreznar, an award winning amateur filmmaker, with assistance from his wife during a guided tour of the Soviet Union in 1965. Film consists of footage of Yalta in Ukraine and Tblisi in Georgia, mainly of public places with a special emphasis on historically important buildings. Throughout the footage Kreznar shows modern apartment buildings as they are being constructed, with his commentary discussing the Soviets' efforts to modernize the territories under their control and the recent population growth in these cities. Kreznar is also interested in the modes of public transportation in each city such as street cars. Kreznar also takes an interest in religion in this footage, showing churches in disrepair or having been de-sanctified and converted into housing, museums, or other government administrated buildings. Kreznar notes that this is due to the Soviet government's anti-religious policy, but he also shows some churches under recently started restoration due to the government's realization of the touristic value of these sites. Film includes occasional shots of people working, mainly in outdoor produce markets. Women are shown doing road construction in Moscow as well as various public parks, swimming pools, and other public recreation areas, with a special emphasis on how the Soviet government has given children places to play
- Date
- 1965
- Local number
- HSFA 97.17.10
- Data Source
- Human Studies Film Archives
- This record comes from another Smithsonian unit: Human Studies Film ArchivesNo Image Available
Lens Behind the Iron Curtain 1965 part 3
- Notes
- title from credits (published work)--archival collection
- supplementary materials: production notebooks; research materials; technical writings; screening logs; amateur cinema newsletters, awards and programs; and still photographs
- Cataloger notes that the film is broken up into three parts, each with its own opening title screen, although, the narrative seems to be continuous and the footage likely follows the original chronological order of the guided tour. The footage is well edited and includes voiceover commentary by F.L. Kreznar and background music. This footage was shot silent with no live audio recorded during the tour
- Summary
- Edited film created by Frank L. Kreznar, an award winning amateur filmmaker, with assistance from his wife during a guided tour of the Soviet Union in 1965. Film consists of footage of Tashkent, Bukhara, and Samarkand in Uzbekistan mainly of public places with a special emphasis on historically important buildings. Throughout the footage Kreznar shows modern apartment buildings as they are being constructed, with his commentary discussing the Soviets' efforts to modernize the territories under their control and the recent population growth in these cities. Kreznar is also interested in the modes of public transportation in each city such as street cars although footage of the Uzbek cities include shots of donkeys and carts still being heavily used as a means of transport. Kreznar also takes an interest in religion in this footage, showing churches and mosques in disrepair or having been de-sanctified and converted into housing, museums, or other government administrated buildings. Kreznar notes that this is due to the Soviet government's anti-religious policy, but he also shows some churches and mosques under recently started restoration due to the government's realization of the touristic value of these sites. Women are shown doing road construction in Tashkent. Film concludes with shot of Muslims praying in public in Samarkand
- Date
- 1965
- Local number
- HSFA 97.17.11
- Data Source
- Human Studies Film Archives
- This record comes from another Smithsonian unit: Human Studies Film ArchivesNo Image Available
Yugoslavia - Land of Our Fathers 1976
- Notes
- title from credits (unpublished work)--archival collection
- supplementary materials: production notebooks; research materials; technical writings; screening logs; amateur cinema newsletters, awards and programs; and still photographs
- Cataloger notes that this is the first of two films, the second of these films is South Slavs (97.17.5). The narration, by Frank Kreznar, continues from the first into the second film. The footage was shot silent
- Summary
- Edited film created by Frank L. Kreznar, an award winning amateur filmmaker, documents Slovenia, Croatia, Bosnia-Herzegovina, Vojvodina, and Serbia. Most of the footage is of countryside or mountainous areas although Kreznar depicts Zagreb, Croatia, and Belgrade, Serbia. The historic Petrovaradin Fortress in Vojvodina, Serbia, is only historic building filmed. The footage of Slovenia emphasizes agriculture, while the footage of Bosnia-Herzegovina includes scenic shots of mountains and waterfalls. Kreznar also shows traditional houses in the rural areas providing a contrast to modern Soviet construction such as Soviet-style apartment buildings. Shots of urban areas also include an emphasis on the lack of cars, high volumes of pedestrian traffic, and the popularity of public transportation. He depicts churches that are still being actively used while discussing the lack of Soviet suppression of religion in Yugoslavia, and he shows the existence of privately held business enterprises such as taxi services and cafés. He also mentions that the majority of Yugoslavian agriculture is under private, family control and that private businesses with five or less employees are allowed to exist. Kreznar discusses the impact of wars between Eastern and Western Europe on this territory, showing various war memorials throughout the film. The film ends with footage of hitchhikers - mainly from countries in Western Europe - attempting to travel through the country
- Date
- 1976
- Local number
- HSFA 97.17.4
- Data Source
- Human Studies Film Archives
- This record comes from another Smithsonian unit: Human Studies Film ArchivesNo Image Available
Film Studies of Traditional Cultures in New Guinea: Miyanmin 1978-1979
- Notes
- title derived from name of project (unpublished work)--archival collection
- Supplementary materials: camera log, journals, photographs, audio tapes
- ethnocinematographer
- Summary
- Full film record was shot by Michael Maloney, employee of the National Human Studies Film Center (NHSFC), Smithsonian Institution and co-principal investigator for the Study of Child Behavior and Human Development in Cultural Isolates (SCBHDCI) with E. Richard Sorenson and in cooperation with The Summer Institute of Linguistics (SIL) in Papua New Guinea. The Miyanmin of Bowye Creek (West Sepik Province, Yapsie) were selected for study due to their remote location and lack of previous contact with outsiders by anthropologist E. Richard Sorenson and T. Wayne Dye, SIL Anthropology Consultant and Coordinator. Guided by the NHSFC Ethnographic Research Film Methodology during the December 21, 1978 through March 26, 1979 expedition, the film record focuses on the daily clan life and interactions among children, infants, family members, clan relations, and non-clan visitors. Film record contains daily life activities that include food gathering/ preparation/distribution, subsistence gardening, harvesting and preparing sago palm, grooming, tool making, curing practices and rituals, shared infant care taking, age-grade interactions, decorating spear tips, preparing clan feasts (taro, manioc, feral pig), celebratory displays and a burial. Also recorded are contact with non-clan Papua New Guinea citizens and a government census patrol
- Date
- 1978-1979
- Creator
- Maloney, M. Michael
- Sorenson, E. Richard
- Local number
- HSFA 86.13
- Data Source
- Human Studies Film Archives
- This record comes from another Smithsonian unit: Archives of American GardensNo Image Available
Diamond G. J. Ranch, 2006-2011
- Notes
- The multi-acre property along the Little Blanco River was ranched and farmed for five generations by members of the Birdseil family before the current owners acquired it and began renovating a native stone house, a half-timbered and adobe house, and outbuildings for their ranching and a quarter horse operation. The gardens they have installed include native plants and other species adapted to a generally hot and dry climate with unpredictable rainfall. The modernized buildings, outbuildings, stone wall and fencing blend with the landscape and make use of native cedar, rocks and fossils found on the property. Shade is provided by fig trees planted by the owners, live oaks and arbors constructed of rough cedar logs. A native garden to the east of the main house includes Mexican plum, native persimmon, acacia, Mexican salvia, agave cactus and prickly pear. On the south side of the house a bird sanctuary and herb garden contain more drought tolerant salvias, daisies, prairie clovers, silver germander, allium, rosemary, thyme and sage, with an old livestock watering trough now used by birds. A bird bath centers a circular old-fashioned garden with beds of larkspur, poppies, catnip, Shasta daisies, old roses, salvia, gaura and euphorbia. Stockade fences are draped in morning glory and queen's crown vine, another native plant
- Along the entrance road there is a circa 1870 cemetery with the remains of six members of a pioneer family that drowned trying to cross the Little Blanco River
- Persons associated with the garden include: Herbert Bindseil and members of the Bindseil family (former owners, 1860-1991), Joe Brooks (architect, 1991-present), Sarah Westkaemper Lake (landscape designer, 2000-present)
- Summary
- The folder includes worksheets
- Date
- 2006
- 2006-2011
- former owner
- Bindseil, Herbert
- former owners
- Bindseil family
- landscape designer
- Lake, Sarah Westkaemper
- architect
- Brooks, Joe
- provenance
- Alamo Hills-Terrell Hills Garden Club
- Local number
- TX098000
- Data Source
- Archives of American Gardens
- This record comes from another Smithsonian unit: Archives of American ArtNo Image Available
Latané Temple papers, [ca. 1934]-1983
- Notes
- Painter, collector and writer; Galveston and Houston, Tex
- Summary
- Journals; sketchbooks; art works; inventory of art investments; material relating to donations given to museums and institutions; photographs; writings; a file on the Houston Artists' Forum; exhibition catalogs; and announcements
- REEL 3120: Five journals, 1967-1982, containing a log of Temple's personal goals and objectives, philosophy of life, personal experiences and relationships, and his reactions to political events in the United States and abroad. The journals also include accounts of Temple's painting, writing and trips to Mexico, Europe and Kenya, writings, sketches, and illustrations
- REELS 3123-3124: 1 exhibition announcement, ca. 1976, for a show at Katy Nail Gallery, Houston, Texas; writings; a file on the Houston Artists' Forum, 1969, consisting of printed material about meetings, a list of names and RSVP cards for meeting attendance. The Houston Artists' Forum, co-founded by Temple, was formed to promote increased communication between Houston's sculptors and painters;
- 8 journals, 1956-1982, containing sketches and thoughts; a list and inventory of his art investments, 1968-1979; correspondence, receipts, printed material, and appraisal reports relating to books, magazines, paintings, and Pre-Columbian and African ethnographic artifacts donated to the Texas Memorial Museum, Archer M. Huntington Art Gallery, and other institutions, 1975-1983; 2 exhibition and auction catalogs in Temple's collection; 6 sketchbooks, undated and 1955-1978; ca. 300 sketches, drawings, caricatures, prints and watercolors; 2 photos of Temple, ca. 1980; and 3 photos of locales taken by Temple, 1954-1957. The correspondence relating to Temple's gifts to institutions includes a letter and typescript of a letter to Monsieur Duportius from Le Pce de Talleyrand, December 16, 1829
- Date
- 1934
- ca 1934-1983
- 20th century
- Creator
- Temple, Latane 1914-
- Subject
- Archer M. Huntington Art Gallery
- Texas Memorial Museum
- Houston Artists' Forum
- Local number
- AAA 3120
- AAA 3123-3124
- AAA
- AAA templata
- Data Source
- Archives of American Art
- This record comes from another Smithsonian unit: Human Studies Film ArchivesNo Image Available
New Hebrides Film Project: Tanna Island 1973-1974
- Notes
- Supplementary materials: still photographs, sound recordings, publications, field notes
- Summary
- Footage shot on Tanna Island during 1973 at the Yakonehnalel ceremonial ground, Yoohnanan village area. Footage includes rehearsal of the traditional male
dances by men from a number of surrounding villages; these traditional dances (formerly outlawed by missionaries) are part of the revitalization of "customs" practiced by members of the John Frum cargo cult as is the wearing of penis wrappers. Shots of dances as observed by women, girls, and older men. Various shots of dance sequences and onlookers: dancers with pliant wild cane dance staffs as they move en masse about the dance ground; shots panning the ceremonial ground after end of dance rehearsal; children resting on a log, natives eating, one grooming another; spontaneous scuffle between two boys; dancers at rest; natives eating beneath a tree; shots of one group of dancers ceremoniously carrying kave roots across the dance ground and depositing them in an adjacent grove of trees; these large kava roots are typically exchanged between dance groups from surrounding villages (as are pigs and gifts of "lap-lap")
- Date
- 1973-1974
- Creator
- Muller, Kalmun
- Local number
- HSFA 75.1.2 - 1
- Data Source
- Human Studies Film Archives
- This record comes from another Smithsonian unit: Field Book RegistryNo Image Available
Allan W. H. Bé papers, circa 1953-1969
- Description
- This accession consists of the papers of Allan W. H. Bé, marine invertebrate zoologist during his career at the Lamont Geological Observatory at Columbia University studying plankton. Although most of the materials in the collection were not created by Be himself, Be is listed as the primary, and in most cases, sole creator of all items. Materials in this collection include field notes from various cruises during which plankton samples were collected. The collection contains data sheets, plotting charts, graphs, maps, instructional materials, correspondence, equipment logs, data compilations, and other miscellaneous materials related to these research cruises. A bulk of the collection relates to cruises on the research vessel Vema. Other research vessels for which cruises are named after include but are not limited to the Robert D. Conrad, Eltanin, and Rockaway. The majority of materials included in this collection are data sheets recording various kind of data. The data often include important information like coordinates, weather conditions and temperatures, and how much was collected and at what depth. Plankton samples were collected from sampling stations located all over the world. Although most of the major Oceans, Seas, and other bodies of water that Be collected in are included, it is important to note that samples were collected from many locations that could not be listed here. In addition to materials from the Lamont Geological Observatory, some materials from the Smithsonian Oceanographic Sorting Center are also included.
- Date Range
- 1953-1969
- Accession #
- SIA Acc. 09-008
- Data Source
- Field Book Registry
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