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 (email@example.com) with any questions.
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.
Guests are invited to explore the life works of Clifton Van Brunt Lewis, a local activist in the Tallahassee civil rights movement who championed for equality, pushed for historic preservation and founded many of Tallahassee’s beloved cultural institutions, including LeMoyne Center for the Arts, Tallahassee Museum, and the Spring House Institute.
Clifton and her husband George Lewis II supported student protestors during the lunch counter sit-ins and theatre demonstrations, as well as worked on interracial committees such as the Tallahassee Association for Good Government and the Tallahassee Council on Human Relations. Clifton established “The Little Gallery” in the lobby of the Lewis State Bank, showcasing both white and black artists in a rotating display. She stayed active until the very end, pushing for equal rights, environmental protection, and art and beauty for everyone.
Their family home, the Lewis Spring House, is the only residence designed and built by Frank Lloyd Wright in Florida during his lifetime. It is operated by the Spring House Institute. Visit them at PreserveSpringHouse.net.
The opening reception is Thursday, April 12 from 5-7PM in the Mary Lou Norwood Reading Room, second floor Strozier Library. Exhibit curator Lydia Nabors will give a short talk at 6:15PM.
The exhibit will be open 10AM-6PM Monday through Friday in the Norwood throughout Summer 2018.
In keeping with month’s theme, Poetry and Nature, I wanted to turn back to Robert Burns’ “To a Mouse,” a poem that delights and provokes upon each reread. In the poem we can see Burns’ tendency to find inspiration in the everyday; a brief encounter with nature gives him the opportunity to ruminate on the state of man and mouse alike.
FSU’s Special Collections holds an incredible number of volumes of Robert Burns poetry, as well as ephemera connected to Burns fandom. A simple search for “Robert Burns” in the catalog of Special Collections items returns 149 items, including plays, music, biographies, and pamphlets, and most of these are either in the Shaw or Scottish collections.
Likely our rarest item is our copy of the Kilmarnock Burns, the earliest printing of a collection of Burns’ works; 612 copies were printed in 1786 on a subscription basis, and was immediately successful, turning Robert Burns into a national celebrity. It is in this volume that “To a Mouse” was first printed for public consumption. Here’s a video of Dawn Steele performing the work:
We learn in the poem’s subtitle, and in the lore surrounding its inception, that the titular “Mouse” was glimpsed, “On Turning up in Her Nest with the Plough, November, 1785.”
Burns laments this action, expressing dismay that he’s caused her tiny mouse-heart to race: “O, what a pannic’s in thy breastie!” Upon the poem’s closing, however, Burns has considered the differences between himself and the “wee beastie”: while both mice and men experience the roughness and instability in life, the mouse has the advantage in not being able to either dwell on the past or anxiously anticipate the future.
Spring is here, and FSU’s campus is covered in blossoming trees, lush green leaves, and curious critters. Take some time this week to consider your relationship to the natural world around you. Do you notice the little things on your walks through campus? Do you allow, as Burns did, these external stimuli to impact your thoughts and feelings about yourself, or even to provoke poetic expression?
Robert Burns’ ability to spontaneously produce musical and poignant verse earned him the title of “Scotland’s Bard,” and ensured that his legacy would remain especially close to that nation’s people and their descendants. Special Collections & Archives’ forthcoming exhibit, “In his ‘Great Shadow’: Robert Burns’ Legacy,” opening January 22nd, explores not only the lyrical finesse that led to our remembrance of him, but especially how he is remembered.
Items created by Burns Clubs for memorial celebrations evince the long history of social responses to Burns’ greatness; drawing on the Scottish and John McKay Shaw Collections at FSU’s Special Collections & Archives, the exhibit especially highlights the tradition of Burns Suppers, which are still celebrated around the world. Like memorial celebrations, poetic homages to Burns began almost at the moment of his death. This exhibit explores these poetic echoes, from Sir Walter Scott to current Scottish poet laureate Jackie Kay. Experience firsthand the social and poetic legacies of Burns — what Keats called “his Great Shadow” — through beautiful historical items in our collections.
The exhibit is holding a soft opening starting January 22, 2018, and then will be open through the Spring semester in the Exhibit Room in Strozier Library, Monday-Thursday, 10am to 6pm and Friday 10am to 5:30pm.
An exhibition of new work by Amy Fleming, The Age of Experience: We Tell Better Stories, is coming to the Claude Pepper Museum at the Claude Pepper Center, 636 West Call Street, Tallahassee, on the campus of Florida State University. The exhibition runs from December 1, 2017, to January 19, 2018, with an opening reception December 1, 6 – 9 p.m.
The exhibition is funded by a grant from Puffin Foundation Ltd. The Puffin Foundation provides grants to artists whose work addresses social issues, or who may be excluded from mainstream opportunities due to race, gender, or social philosophy.
This exhibition works to change the narrative around the way we discuss aging by focusing attention on the many vibrant members of our elder community. Ageism is a byproduct of a hyperconsumerist mindset: the disposability of mass-produced goods, the replacement of “old” with “new” without regard to quality or continued usefulness feeds into this attitude. In The Age of Experience: We Tell Better Stories, images of mass-produced discards find new life as impossible robes and royal collars made from pump valves and vacuum tubes, pull tab rings reappear as chain mail, soda bottles form crowns and halos.
Amy has been working with members of the City of Tallahassee Senior Center to create a series of screen and relief printed portraits. Participants in the project range in age from 60 to their mid 90’s. She became interested in problems facing older adults when two family members were dismissed from their jobs when they entered their 60’s despite having excellent work records. One is still having difficulty finding full-time employment.
Amy Fleming is an Adjunct Professor of Printmaking and Print Lab Manager at Florida State University. She is the recipient of a grant from Puffin Foundation Ltd., a Robert Rauschenberg/Barrier Island Group for the Arts award, has been an Associate Artist at the Atlantic Center for the Arts artists residency, Artist in Residence at 621 Gallery and a Summer River Fellows Program resident artist at Columbus State University in Columbus, Georgia. Her work is included in public and private collections including the Jean and Alexander Heard Library at Vanderbilt University, and the Southern Graphics Council International permanent collection at Kennesaw State University.
Senator Claude Pepper, D-FL, served as chair of the United States House Permanent Select Committee on Aging from 1977 through 1983. Pepper led the fight against elder abuse, established legislation to fund Alzheimer’s research and care centers, and pushed energetically against age stereotyping. One of his famous quotes is “Ageism is as odious as racism and sexism.”
Florida State University’s international programs celebrate 60+ years of connecting students interested in new cultural experiences and a brand new learning environment. Within the program today, students can choose from more than 20 locations, ranging from Panama to China and everywhere in between. Those who are interested in studying abroad, are offered a flexible schedule, allowing them to choose any semester that best suits them so they do not have miss out on the opportunity due to timing. Within Heritage & University Archives, we house the original documents creating the organization, includes the creation and original operation of the international programs.
On August 1, 1966, a group of 120 students from Florida State University traveled to Florence to embark on their cultural adventure for a total of eight months. On November 4, 1966, the Arno River, located in Florence, reached a frightening elevation and eventually surpassed the embankment. This flooded the city, causing damages and causalities and causing the journey for the Florida State students to take a turn for the worst. Florence was covered in mud. Relief efforts by volunteers, known as “mud angels,” were underway to help the residents of Florence. Among these mud angels were the Florida State students, helping preserve invaluable artifacts and manuscripts. Despite relief efforts, Florida State students and faculty were eventually relocated to Rome for the health risks became overwhelming.
Their efforts to aid the city of Florence were recognized by both the cities of Rome and Florence and were even thanked by Pope Paul VI. Currently, Heritage & University Archives is hosting an exhibit about the students who went to Florence in 1966 and became part of the relief effort. The exhibit is located in the Mary Lou Norwood Reading Room, open Monday through Friday from 10 a.m. to 6 p.m and available to the general public.
For more information on the Arno River Flood of 1966 and the students who participated in the relief efforts of Florence, please click here.
Established in 1966 by former Florida Supreme Court Justice B.K. Roberts, Florida State University’s College of Law has contributed many notable individuals to the law community, such as current Florida House of Representatives Majority Leader Adam Hasner and current Senior Judge for the United States Air Force, W. Thomas Cumbie. A scrapbook documenting the planning of the school is located in Special Collections & Archives.
In October, Florida State University honored Talbot “Sandy” D’Alemberte, Florida State University President Emeritus, former Dean of the Florida State University Law School, and former President of the American Bar Association through the dedication of a window at the Heritage Museum in Dodd Hall. Featured are the highlights of D’Alemberte’s career, celebrating his service to the community and the university. Florida State University’s College of Law, College of Medicine, the State Capitol, and his childhood home in Tallahassee can be seen within the window. During his tenure, D’Alemberte was responsible for envisioning and completing the Village Green for the College of Law, with its cluster of historic buildings and rotunda, the design inspired by Thomas Jefferson’s plan at the University of Virginia.
At the unveiling, current Florida State University President, John Thrasher, spoke of his friend:
“Sandy has helped shape Florida State’s identity as a university that not only educates students, but develops good citizens who contribute to society in meaningful ways. He has spent his whole life trying to make this world a better place.”
The exhibit created for the unveiling of the window is still on display within the Heritage Museum. The exhibit and the window are open to the public for viewing, Monday through Thursday from 10 a.m. to 4 p.m. EST.
The article documenting the unveiling of the window can be found by clicking here.
For those unable to visit the Heritage Museum, an online exhibit has been created for the Heritage Protocol & University Archives project Degrees of Discovery. The digital exhibit includes additional items and information not included in the physical exhibit, providing new understandings about the various scientific developments on campus over the years.
Creating the digital exhibit offered an entirely fresh perspective of the objects I had curated for Degrees of Discovery. The first step was to determine the best way to view each object on a screen, rather than in person. Staging a physical exhibit requires an awareness of how items play off each other’s size, color, and texture; because digital items are more likely to be viewed individually, the focus lies with image clarity and whether the digital copy is a faithful representation of the original. After digitizing each object using scanners and conventional photography, I sat down to compile the information that would help people understand the objects they would now see on a computer screen. Rather than interpreting the items in relation to each other to tell a story, I needed to objectively observe each object in terms of size, genre, creator, and subject matter. The information I could glean from the item became its metadata. If you’ve used a catalog record in a library, you’ve seen metadata; it’s the information that describes the item, like the date of publication or its place in a larger series. This metadata allows users to search for objects if they have a subject, keyword, or title already in mind. Though arguably less creative than the initial curatorial development, the creation and implementation of the objects’ metadata is what makes it possible for users to find what they’re looking for.