In the spring of 1956, after students Wilhelmina Jakes and Carrie Patterson from Florida A&M University, were arrested and jailed for refusing to leave the “whites only” section of a Tallahassee bus, the African-American community of the city rallied together to boycott the city bus service and take a stand for their civil rights and the belief that the color of their skin should not leave them subject to discrimination and fear. Those who participated in the boycott, including Rev. C.K. Steele, Daniel Speed, Jakes and Patterson and many others from the then 10,600 African-American residents of Tallahassee, were met with resistance from bigoted members of the Tallahassee community that felt racial segregation should remain the law of the land. What factors contributed to a mindset that would allow for one group to so poorly treat another?
A new exhibit now open at the Claude Pepper Library seeks to illustrate the kind of resistance that the Bus Boycott participants faced in their endeavors to secure fair and impartial treatment in a city that they too, called home. Guests are invited to visit the Claude Pepper Library and explore the exhibit on the Tallahassee Bus Boycott of 1956 which is open to the public now, through the early fall of 2018. Using primary source documents, ephemera and photographs that provide a deeper context for the events that began to take place in May of 1956, Special Collections & Archives provides a look into the social and political climate in the State of Florida leading during the time of the Bus Boycott. Guests are also able to listen to audio recordings of boycott participants and witnesses, including the Reverend C.K. Steele, Daniel Speed and Governor LeRoy Collins. The Claude Pepper Library and Museum are open Monday through Friday from 9:00AM to 5:00PM, call (850) 644-9217 or email Political Papers Archivist Robert Rubero (firstname.lastname@example.org) with any questions.
Heritage & University Archives is excited to present a newly reprocessed collection: The Florida State University Historic Photograph Collection. An initial inventory, which took a project archivist roughly four months to compile, indicated that the collection included nearly half a million images in both print and negative format. Former graduate student Dave Rodriguez then spent a year organizing and reprocessing the original several small collections and new accessions into its current state. The collection is now housed in over 200 boxes in the Special Collections & Archives stacks.
The images cover a wide time span, from FSU’s earliest iteration, the Seminary West of the Suwannee River, to the present. While the photographs date back as far as the 1800s, the bulk of the material is dated between 1920s to the 1970s.
The images themselves depict every facet of life on campus, from construction and special events to students relaxing on Landis Green and action shots of athletics contests. Some notable items in the collection include prints from the Flying High Circus, Homecoming, and various theatrical performances. In addition, a series dedicated to buildings, faculty, and university presidents help give a complete view of what campus was like at any decade.
Additionally, some images from the collection have been scanned and entered into FSU’s Digital Repository, Diginole.
For more information about Heritage & University Archives and the Florida State University Historic Photograph Collection, please contact Sandra Varry at email@example.com or visit heritage.fsu.edu
To start with, and something that I have never really thought about is that Archeology, the act of excavating, is an act of destruction. If they’re doing their jobs right, at the end of the dig, the site no longer exists. So, the hundreds of forms (For the Windover dig, over 600!), called Unit Excavation Forms, are used to record exactly what the archeologists were seeing as they dug the site. The site itself is divided into squares on a grid with each square having specific coordinates within the grid. Each form then corresponds to a specific square, or as they are called, unit.
Per Dr. Thomas, Unit Excavation forms’ primary role then, is to record the process of removal, layer by layer in each unit. Each form is labeled with information like the site name/number, the coordinates of the unit, the unit number that corresponds with a location on the grid, people working on that unit, and the level (depth) of the excavation. The workers then excavate in 10cm levels (ground – 10cm below surface = level 1) and so on to 90-100 cms = level 10. Each and every artifact is recorded as it is found and the workers make sure to mark the location within the unit, depth, and type of artifacts discovered. So, the unit forms and each level gets a form, then tell us what was found and where.
You stop digging in a unit when you hit a “sterile” layer, or after you have not hit new artifacts for a few levels. You then close that unit and start on a new one. After completion of a dig, the Unit Excavation Forms can be used to reconstruct each unit so that future researchers know where certain artifacts were found and in what context they belong within the dig site.
Pretty cool right? I also asked Dr. Thomas to think about what people will be able to learn now that these forms are online. Having the forms for the Windover dig online allows researchers and people interested in archaeology to gain information on, not only the process of archaeology but the specifics of the Windover site. If someone is interested in a particular burial and would like to find out the context of the burial (for example individual 90, a subadult with a large number of grave goods), Dr. Thomas, or the patron themselves, could look up burial 90 and have the excavation forms for that unit. This will allow Dr. Thomas and the researcher to see the position of the body and locations of each artifact in the burial, along with any pictures of the burial site if any exist. This will hopefully greatly increase the amount of interpretive power we have for examining the remains and the way they were treated at death.
Note: We are in the process of digitizing and loading x-rays and photographs of burials at the Windover site. However, due to the nature of that material and NAGPRA guidelines, those materials will be in collections with restricted access. Look soon for instructions on how to apply to use these types of materials for research in DigiNole.
Poetry has, traditionally, served as an excellent way to remember things. The human brain just seems to better retain information that rhymes, and a rhythmic quality can bring the words to mind in an instant.
Lines that are intended to aid in memorization are called mnemonic verses, and we use them on a daily basis. Think of when you try to determine how many days are in a month: “Thirty days hath September…” Or when you consider how “neither” should be spelled: “I before E except after C…” Is that snake in your yard friend or foe? “Red on black, friend of Jack…”
There are even longer mnemonic verses for memorizing heftier material. For example, this witty little song for the history of the monarchy in England (sung to the tune of Good King Wenceslas):
Willie, Willie, Harry, Stee,
Harry, Dick, John, Harry three;
One, two, three Neds, Richard two
Harrys four, five, six... then who?
Edwards four, five, Dick the bad,
Harrys twain and Ned the Lad;
Mary, Bessie, James the Vain,
Charlie, Charlie, James again...
William and Mary, Anna Gloria,
Four Georges, William and Victoria;
Edward seven next, and then
George the fifth in 1910;
Ned the eighth soon abdicated
Then George the sixth was coronated;
After which Elizabeth
And that's the end until her death.
Originally published in 1816 and 1817, the book was largely popular in the UK, but it spread to the US toward the later half of the nineteenth century. The book has funny little woodcuts depicting various scenes and then a rhyming verse that helps the reader remember their times tables. Here are a few examples:
Some of the most beautiful woodcut work appears on the borders. Here is close up of the corner piece on that last one:
Finally, my favorite page shows a child holding a book just like the one the image appears in! It also mentions the bookshop that sold Marmaduke Multiply’s Merry Method of Making Minor Mathematicians, which happened to be financially linked to the publishing house that produced the book (talk about savvy marketing!):
What rhymes do you remember from childhood?
Marmaduke Multiply’s Merry Method of Making Minor Mathematicians. New York: Dover Publications, 1972. Print.
The Digital Library Center has been working with the Art History department for a few years now to digitize and make available a collection of stereographs. While the collection is wide-ranging in its topics, its main focus is on Paris and her environs just prior to “Haussmannization,” or a series of public works projects led by Georges-Eugène Haussmann, which redesigned Paris in many ways. We recently loaded a new set of materials into this collection and wanted to share a few in this set that have the added bonus of color!
A former hunting ground of the French Kings, Bois de Boulogne is a large public park on the outskirts of the 16th arrondissement of Paris. It was created as part of Haussmann’s work for Napoleon III who had been impressed by Hyde Park in London during his exile and wanted to include more public parks in his reimagining of Paris (Wikipedia).
Parc de Saint-Cloud is now considered one of the most beautiful gardens in Europe. On the outskirts of Paris, it was once home to the Château de Saint-Cloud. However, the castle was destroyed during Napoleon III’s war with the Prussians and completely razed in 1892 (Wikipedia). The cascade featured in this stereograph no longer exists; if you visit the park today, you would see waterfalls, but none in the design of the original castle.
L’Arc de Triomphe needs no introduction. She has stood proudly in Paris’s Place de l’étoile since 1836. Wanted by Napoleon in 1806, the Arc de Triomphe was inaugurated by the French king, Louis-Philippe, who dedicated it to the armies of the Revolution and the Empire (City of Paris).
The Special Collections book we’re highlighting today has a very specific mission: to teach children (and perhaps, the adults reading to or with them) about the post-nuclear world, and about the need for peace. On the Wings of Peace: In Memory of Hiroshima and Nagasakiis a 1995 collection of prose, poetry, and accompanying illustrations that promotes a message of world peace by incorporating voices from communities that have been affected by the atrocities of war.
On the Wings of Peace: Writers and Illustrators Speak Out for Peace, in Memory of Hiroshima and Nagasaki
The introduction by compiler and editor Sheila Hamanaka lays out the historical events of August 6, 1945, aligning the victims to the reader: “In this city of 350,000 were people like you and me, and they were already suffering from the effects of war — the death of loved ones, starvation, separation” (11). Her words appear across from this harrowing illustration:
Little Boy and Fat Man
Throughout the large hardback volume, essays, personal accounts, and poetry are accompanied by both illustrations that evoke difficult emotions and photographs that portray the reality of the circumstances. Across from “Thoughts from a Nuclear Physicist,” a short essay by Michio Kaku, is Little Boy and Fat Man, a photograph by Robert Del Tredici. A young man leans casually against what must be a mock-up of the bomb, appropriately reflecting Dr. Kaku’s wise observation:
“Regrettably, our scientific skills have far outstripped the wisdom and compassion necessary to control this deadly, cosmic power. We are like spoiled infants playing with matches while floating on a swimming pool of gasoline” (25).
Marsha Gontarski Children’s Literature Collection & Visual Literacy
The volume is a compelling addition to the growing Marsha Gontarski Children’s Literature Collection, a broad collection of works mostly written and designed with children in mind. What is most fascinating about the collection is the way that Dr. Gontarski conceives of it; in her years of studying visual literacy, Dr. Gontarski has made connections between the books within her collection via the myriad ways meanings are visually communicated to children in these works. This book, which handles heavy subject matter, incorporates a mix of illustrations by different artists.
One of the stand-out poems includes illustrations by the poet.
“Sky,” by Junko Morimoto, tells the story of the atomic bombs from the perspective of a child in a village very near the drop-site. The illustrations are small and appear alongside the stanzas, as though they are part of the poetry.
This month’s Year of Poetry theme is community, and the book On the Wings of Peace considers the mission of achieving world peace through the eyes of people from different communities with different relationships to war and peace. In the case of “Sky” it is of a person who has experienced atomic fallout.
In the case of “Rabbit Foot: A Story of the Peacemaker,” the poem is from the perspective of the Iroquois people. It recounts one of the legends that accompanies the foundation of the Great League of Peace, which joined five nations at war into a larger league comprised of the Mohawk, Onondaga, Oneida, Cayuga, and Seneca people (eventually, in 1722, the Tuscarora people joined as well). In the story, the Peacemaker warns of the dangers of war, illustrating his point with a story of a frog and a snake who eventually consume one another:
The snake swallowed more of the frog
the frog swallowed more of the snake
and the circle got smaller and smaller
until both of them swallowed one last time
and just like that, they both were gone.
They had eaten each other,
the Peacemaker said.
And in much the same way,
unless you give up war
and learn to live together in peace,
that also will happen to you.
— “Rabbit Foot: A Story of the Peacemaker” by Joseph Bruchac
If you’re interested in seeing how more artists respond to questions of war and peace, visit FSU’s Museum of Fine Arts to see the new exhibit, Waging Peace! There are beautiful pieces by a number of different artists, and local schools were involved in the design and installation of the exhibit.
The exhibit Waging Peace! will be up until July 6th, 2018. Don’t miss it!
Hamanaka, Sheila. On the Wings of Peace. Clarion Books, 1995.
The Sunshine State Digital Network (SSDN) is the Digital Public Library of America (DPLA) service hub for the state of Florida. The DPLA is an ever-growing national network of libraries, archives, museums, cultural heritage institutions; it is a free service, offering access to over 21 million items from around the globe. The service hub (SSDN) represents a community of institutions in the state which provides their partner institutions’ aggregated metadata for the DPLA and offer tiered services, such as collections hosting, metadata remediation, training, and digitization assistance to connect institutions of all sizes to the DPLA. Collecting (aggregating) and sharing the metadata records with DPLA allows for the digital objects to be presented to the public in a national context alongside objects from other organizations like the Smithsonian, the Library of Congress, the New York Public Library, the National Archives, Harvard University, HathiTrust, and many others and gives them greater exposure. This means that they are easier to find because they are all on one easily searchable platform and they will get more use than they would have otherwise. DPLA offers users many ways to make use of the resources they provide such as exhibitions and primary source sets designed for classroom use.
The SSDN operates on a multi-tiered hub system consisting of the main hub and regional sub-hubs. The main service hub is located at Florida State University in Tallahassee, FL. The sub-hub is located in Miami, FL with responsibilities shared among the University of Miami (UM) and Florida International University (FIU). These three institutions contribute metadata for their digital collections content as well as on behalf of several new content partners. SSDN has added three new content partners since February 2018, they are Florida Memory, the City of Coral Gables, and Valclav Havel Library Foundation. Together, these six institutions have shared over 148,000 digital objects with DPLA since our first harvest in November 2017!
The network is currently working toward adding more partners, developing a sustainability model, establishing governance, and supporting Florida cultural heritage institutions to share their resources online. We are doing this with the help of many volunteers around the state serving on our working groups, which focus on metadata, outreach, and training. These groups are currently developing metadata guidelines and documentation, assessing and developing digitization, digital collections, and metadata training, and creating and fostering outreach and relationships with different cultural heritage institutions around the state. We are very excited about the growth of the network in such a short time and about the opportunities we have ahead of us.
Take a look at what Florida has contributed to DPLA and explore what else DPLA has to offer at dp.la.
Post contributed by Keila Zayas-Ruiz, SSDN Coordinator based at Florida State University in Tallahassee.
It’s time for a student spotlight to hear what some of our students are working on behind the scenes at Special Collections & Archives.
My name is Meg Barrett, and come Fall semester, I will be a senior (!), studying Art History. I’ve been working with Special Collections & Archives since the summer of 2016, and I’ve been able to work with some really interesting materials, such as photo records of the university’s College of Nursing to eighteenth-century French newspapers.
Most recently, however, I had the opportunity to create the container list for the School of Theatre’s playbill collection, located in the Degen Resource Room of the Fine Arts Building. This list was added to the collection’s finding aid which means you can now search the collection’s thousands of titles.
The collection has over 200 binders filled with thousands of playbills for plays and musicals, dating back to the 1870s. The collection consists of playbills of shows across the country, such as in New York or Chicago, and even university productions. As an avid theatre fan, who takes every opportunity to see a campus theatre production and enjoys a good musical theatre soundtrack, being able to work on this project was a great experience. The collection includes playbills from shows such as The Boy Friend from 1954, which was Julie Andrews’ Broadway debut, the 1996 production of This is Our Youth, starring Mark Ruffalo, or even the 2000 performance of The Crucible at the Florida State University Fallon Theatre. I am so grateful that I was given the chance to work on this project and look through all of these fascinating materials.
Editor’s Note: Meg has been a fantastic addition to Special Collections & Archives and we’re going to miss her this summer as she goes on a European adventure but will look forward to having her back in the fall!
It isn’t every day we digitize a 17th-century book about pirates. A few months ago, a colleague at the University of South Florida (USF) Libraries asked if we would be able to digitize our copy of Bucaniers of America, or, a true account of the most remarkable assaults committed of late years upon the coasts of the West Indies: by the bucaniers, of Jamaica and Tortuga, both English and French : wherein are contained more especially, the unparallel’d exploits of Sir Henry Morgan, our English Jamaican hero, who sacked Puerto Rico, burnt Panama, &c. (we just don’t title books like that anymore do we?). We were happy to oblige and also excited about why USF wanted a digital copy.
They were working with The Tampa Bay History Center on a new exhibit, Treasure Seekers: Conquistadors, Pirates & Shipwrecks and while USF was providing their copy of the book for the physical exhibit, they also wanted to be able to provide access to a digital copy as well. Due to the age and binding of the volume, it was a tricky digitization project but we persevered in the end! You too can now take a look at this fascinating volume chronicling the exploits of the buccaneers that ruled the waters of the Caribbean in the 1600s which includes the very famous Captain Morgan.
Glowchild, and other Poems, published in 1972, is an anthology of works by black poets on the subjects of “nature, passion, politics, hope, peace, freedom, and other topics, gathered primarily with the inner-city youth in mind” (Catalog Description). The included poems were selected by Ruby Dee, poet, playwright, actress, journalist, and lifelong activist.
Nature and Poetry
To choose a poem to highlight in this collection is difficult, as they are all worth reading, but following this Year of Poetry month’s theme, Nature and Poetry, we’ll focus on two poems that consider an aspect of nature and use that image to reflect on some of the complexities of human experience. Both poets were high school students.
I love, the birds that sing to me in the
Birth of morning.
I love, the cold clear water on my skin to wake
My rested face.
I love, walking briskly through the clean
Crisp noon air.
I love, to see people being
I love, to see love being loved
--- LaVerne Davis, New Rochelle H.S.
Have you ever watched a fly trying to get out a window?
It yearns for the sunshine on its back, and lost freedom.
It goes back and forth trying to get out.
Maybe it's trying to tell US something.
Should WE also try to get out,
Get back to the outdoors,
Escape from the prison called civilization?
To where a man is free and doesn't die from 9-5.
Where he's not boxed in by responsibility.
Yes, maybe WE also should be looking for the space in the window to Escape.
--- Robert Kaufmann, Albert Leonard Jr. H.S.
In Dee’s introduction to the collection, she stresses the importance of these poems:
American Negro Theater
The anthology is a poetic continuation of Dee’s activist work, and its target audience of “inner-city youth” is near and dear to Dee’s own experience growing up in Harlem in the 30s and 40s. She began her acting career with the American Negro Theater (ANT), a group founded in 1940 when Abram Hill and Frederick O’Neal approached librarians of the Harlem Branch of the New York Public Library system; the librarians offered the group the use of their basement stage and a game-changing theater troupe arose. Eventually, along with Ruby Dee, actors Sidney Poitier and Harry Belafonte came out of the American Negro Theater. ANT worked to write and produce theater that was thoughtful and radical.
The goals of the American Negro Theater were:
To develop a permanent acting company trained in the arts and crafts of the theatre that also reflected the special gifts, talents, and attributes of African Americans.
To produce plays that honestly and with integrity interpreted, illuminated, and criticized contemporary black life and the concerns of black people.
To maintain an affiliation with, and provide leadership for, other black theatre groups throughout the nation.
To utilize its resources to develop racial pride in the theatre, rather than racial apathy.
Ruby Dee is likely best known for her role in the stage and film productions of A Raisin in the Sun, which made its Broadway debut in 1959. Dee played Ruth Younger, the wife and mother of the impoverished Younger family. She became quite famous and popular, but never shied away from participation in political activism, leading her to be blacklisted and harshly criticized at several points in her career.
It is difficult to capture the breadth of Dee’s accomplishments in this space. To learn more about her amazing life and career, you can read a memorial piece, written just after her death, here.
Here is a video of Ruby Dee appearing on the Dick Cavett show in 1970, around the time that she began collecting poems for production in Glowchild, and other Poems.
Glowchild, and other Poems is a beautiful anthology, filled with poems by young black people writing about their experiences with the harsh realities of life. It’s disappointing to discover that the book was banned in libraries across the states. Dee carefully curated the anthology to incorporate poems that would be useful to young people who identified with the experiences of the writers; to take away access to that experience — and most of these bans took place in public school libraries — is a crime.
Rux, Carl Hancock. “Ruby Dee: 1922-2014.” American Theatre, no. 7, 2014, p. 20.
Smith, Jessie Carney and Lean’tin L. Bracks. Black Women of the Harlem Renaissance Era. Rowman & Littlefield Publishers, 2014.