Historical Records: Reissuing as Curatorial Practice in Harry Smith's Anthology of American Folk Music

Abstract Reissues of recordings are commonplace, yet rarely examined by scholars. This article considers how reissuing is a creative act akin to museum curation. Through this lens, reissuers emerge as crucial interpretive figures, making decisions that affect how music and music history are understood by listeners. I take as a case study the Anthology of American Folk Music (1952), one of the most canonic and widely praised reissues. Created by record collector and avant-garde artist Harry Smith and distributed by Folkways, the Anthology comprises eighty-four commercially released recordings made between 1926 and 1932, accompanied by an idiosyncratic set of liner notes. At the time, folk music was beset by various mythologies, notably an idealization of racial purity and an antithetical stance toward commercialism and modernity. When reissuing the material, Smith carefully selected, sequenced, and annotated the recordings in ways that unsettled these mythologies. In 1994, the Smithsonian reissued the Anthology on compact disc. Drawing on archival documents from the Smithsonian, I demonstrate how their decisions reframed the Anthology in various ways to fit their goals and concerns. Through marketing, reproduction, cover design, and the soliciting and editing of additional notes, the Smithsonian elevated Smith as a racially progressive auteur while navigating commercial concerns and historical preservation. In particular, the editing of notes avoided controversial statements during an era of politically contentious museum exhibitions. Nevertheless in doing so, the very myths that Smith unsettled in his reissuing were replaced by an idealized race-blindness, anti-commercialism, and historicism.