tag:blogger.com,1999:blog-66901035908984266292024-03-14T02:12:48.629-04:00UNCG Special Collections & University ArchivesSCUA collects, preserves, and makes accessible rare, unique, or otherwise significant materials outside the scope of the general UNCG library collection. We also deliver presentations, classes, tours, and exhibits.
Our collections include official records, personal manuscripts, rare books, textiles, A/V materials and artifacts. Subject strengths include women's history, literature, theatre, music, and dance.Beth Ann Koelschhttp://www.blogger.com/profile/00587848895287015309noreply@blogger.comBlogger237125tag:blogger.com,1999:blog-6690103590898426629.post-44964262139978484752021-08-04T11:42:00.001-04:002021-08-05T09:38:37.502-04:00Fighting for LGBTQ Rights: The 1991 Cracker Barrel Protests<p>In February 1991, Cracker Barrel, a southern country food restaurant, announced a policy that discriminated against current and future employees based upon their sexual preferences. The new hiring practice banned people “whose sexual preferences fail to demonstrate normal heterosexual values which have been the foundation of families in our society.” As a result, several employees in Florida, Georgia, and South Carolina lost their jobs. One person’s separation notice said, “This employee is being terminated due to violation of company policy. The employee is gay” <a href="https://greensboro.com/cracker-barrels-values-for-heterosexuals-only/article_339fb030-5b62-5ced-abde-f104d25def6f.html">(Morris, Mar. 91</a>).<br /><br />The public’s response to Cracker Barrel’s choice to judge workers by sexual norms rather than character was not well received and political protests began flaring up in the southeast. After several more firings of gay employees, the company decided to rescind the policy and expressed a commitment to non-discrimination in the workplace. <br /><br />However, this policy change was not enough to assuage some individuals as there was still no federal law prohibiting workplace discrimination based upon sexual orientation. The lack of laws preventing discrimination based on sexual orientation spurred some citizens into organized action. In December 1991, a diverse group of people known as the Triad Coalition to Boycott Cracker Barrel collectively gathered to voice their anger of this injustice in front of the local Cracker Barrel. They carried signs out in front of the store to alert passersby and patrons alike of the franchise’s faults. They read, “Cracker Barrel Now Firing,” “Federal Protections Now,” and “Waiter, There’s a Bigot in My Biscuit.” Some customers wanted to know more, others shot obscene gestures, and some took their business elsewhere. <br /><br />This demonstration would not be the only one as another LGBTQ rights association known as the Guilford Alliance for Gay & Lesbian Equality (GAGLE) also organized a Cracker Barrel protest several months earlier in March 1991. According to their mission statement, the group “is a grassroots organization of gay men, lesbians, and allies committed to the complete political, legal, economic, and social equality of all people, regardless of their sexuality. We are fighting the discrimination that faces gay and lesbian citizens and threatens the rights of every citizen. Black and white. Young and old. Female and male. The Guilford Alliance is people who care about human dignity -- people like you.” <br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpzVUBlqMdP4hZyRQecUyRQhcu8gunGT7j4tVV7fuOdDmvsMZu50FuHlCOlxY5rD_Lersk6bOacxSLDGk957MDrjXj4DVsKI_Pmh0wFVTjHwzksLvTXNyD4qdYCua6JfOyPnoiNGV_evw/s2048/GAGLE_Flyer.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2048" data-original-width="1285" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpzVUBlqMdP4hZyRQecUyRQhcu8gunGT7j4tVV7fuOdDmvsMZu50FuHlCOlxY5rD_Lersk6bOacxSLDGk957MDrjXj4DVsKI_Pmh0wFVTjHwzksLvTXNyD4qdYCua6JfOyPnoiNGV_evw/w194-h310/GAGLE_Flyer.jpg" width="194" /></a></div><p><br />A flyer found in the <a href="https://uncg.as.atlas-sys.com/repositories/2/resources/232">Marnie Thompson Papers</a> series in the Martha Hodges Special Collections and University Archives shows the considerable care and planning by GAGLE which contributed to the protest’s success. Along with providing basic information like than the where, when, and why, the document addressed the specifics of the plan: identifying GAGLE leaders with stickers, so protesters know who to turn to for help; instructing to eat a small amount, but to make sure protesters treat and tip their servers well, for they harbor no ill will towards Cracker Barrel’s employees; recommending to wear one’s Sunday best mirrors the meaning of Civil Rights protesters wearing their finest to convey the righteousness of their actions; guidelines on how to pay and conduct oneself with the manager illustrates the protesters’ exemplifying gracious and deserving customers, which contributes to the stressed declaration that the protest is “NON-VIOLENT” and “LEGAL.”</p><p><br /></p><p></p><p>Indeed, this flyer serves as an artifact for times of age-old oppression being met with community opposition. A point on the timeline that gives context to the history experienced today.</p><p><br />Written by Shelbi Webb </p><p><br /></p>SMulliganhttp://www.blogger.com/profile/03657915363690921128noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-41011317084485842802020-09-28T12:51:00.004-04:002020-09-28T12:52:20.456-04:00UNCG Special Collections & University Archives Receives Collection of Violoncello Society of New York<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF_vdJmIRp6eLz7zgDN0bFtrYLLcjtW-VTtl1p8TFdIbA_oITEZ4TztpdnsRqOEbQnfpZHC0Tkq1c2kk3pkxABn_JsUNkZDKLcx_cQVwyY6VSk33WCT61Fp6r_vvOseoEQmGAKegY1M_h6/s1330/2efb1c_929422d47723494a8007fe67a2c4613c_mv2.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1330" data-original-width="1330" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhF_vdJmIRp6eLz7zgDN0bFtrYLLcjtW-VTtl1p8TFdIbA_oITEZ4TztpdnsRqOEbQnfpZHC0Tkq1c2kk3pkxABn_JsUNkZDKLcx_cQVwyY6VSk33WCT61Fp6r_vvOseoEQmGAKegY1M_h6/w200-h200/2efb1c_929422d47723494a8007fe67a2c4613c_mv2.jpeg" width="200" /></a></div><br />The <a href="https://www.violoncellosociety.org/">Violoncello Society of New York</a> is very pleased to announce the donation of its extensive archive to the <a href="http://library.uncg.edu/info/depts/scua/">Martha Blakeney Hodges Special Collections & University Archives</a> at the University of North Carolina, Greensboro. Included in the VCS archive are additional materials from the American Cello Council dating back to the 1930’s. VCS President, Kate Dillingham states, “It is a wonderful moment in the society’s history for the archive to have a permanent home. Our long legacy of cello playing and musical culture in the United States is now available for cellists and cello enthusiasts throughout the world to experience through photographs, documents, programs, and memorabilia. I look forward to working with Stacey Krim to feature items of interest from the archive for all to enjoy.”<br /><div><br />It is the mission of the Violoncello Society of New York (VCS) to promote the art of cello playing in the United States, provide a common meeting ground for professional and amateur cellists, promote interest in the cello as a solo instrument, provide opportunity of performances for artist and composer, develop a broader and more mature understanding of the art of the cello, and further the members’ artistic development. VCS organizes and hosts events that enrich the community and advance the art of cello playing. Among the membership, past and present, is some of the greatest cello-talent in the United States and worldwide. The collection includes the business papers of the society, correspondence, and recordings dating back to the organization’s founding in 1956. The collection is now part of the UNCG Cello Music Collection, which is dedicated to acquiring, preserving, and making accessible cello music collections for research and learning. The UNCG Cello Music Collection contains the archives of two past presidents of the society, János Scholz and Bernard Greenhouse, and past vice-president, Nicholas Anderson. The VCS is now open to researchers by appointment for the 2020 Fall semester. If you are interested in accessing this collection or learning more about the UNCG Cello Music Collection, please contact Stacey Krim (<a href="mailto:srkrim@uncg.edu">srkrim@uncg.edu</a>). <br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwYYiFYaepOt3-73afzeb7EINS0v1uZAJwI4t6qqbbCDZCmZ9O-sAim51kcdxtVIwVhWhyphenhyphen-Ly5pciITuiWJWSeKTeuLsdSiLwfRDvP8mEO86IyZowaUL1YD1EpGF2r6rdesrQXLkSCXcHg/s2048/118763229_1109896506073554_5140646994333909604_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1412" data-original-width="2048" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwYYiFYaepOt3-73afzeb7EINS0v1uZAJwI4t6qqbbCDZCmZ9O-sAim51kcdxtVIwVhWhyphenhyphen-Ly5pciITuiWJWSeKTeuLsdSiLwfRDvP8mEO86IyZowaUL1YD1EpGF2r6rdesrQXLkSCXcHg/w400-h276/118763229_1109896506073554_5140646994333909604_o.jpg" width="400" /></a></div><br /><div><br /></div>Stacey Krimhttp://www.blogger.com/profile/08786544232977383930noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-76131002695129678532020-05-07T09:58:00.000-04:002020-05-07T09:58:33.000-04:00New Digital Exhibit Curated by Natalie Branson (M.A. in History with a concentration in Museum Studies)Natalie Branson, a second-year graduate student working on an M.A. in History with a concentration in Museum Studies, researched and developed an online exhibit focused on the work of the Women's Association for the Betterment of Public Schoolhouses, an organization of women advocating for public education in North Carolina in the first quarter of the 20th century.<br />
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You can see Natalie's wonderful exhibit here: <a href="http://uncglibraries.com/wabps/exhibits/show/wabps">http://uncglibraries.com/wabps/exhibits/show/wabps</a>. We also asked Natalie to write a reflection of her time working on this project. You can find that reflection below.<br />
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Natalie's work is reflective of the outstanding caliber of students we have at UNC Greensboro. She demonstrated curiosity, self-motivation, and determination - even when the COVID-19 pandemic make everything more chaotic. We in SCUA are always excited for the opportunity to work with our undergraduate and graduate students and to guide them in their research and learning. We thank Natalie for her excellent work this semester!<br />
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A Reflection on My Capstone Experience </div>
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by Natalie Branson, M.A. in History with concentration in Museum Studies Candidate, 2020 </div>
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My capstone project has been one of the most memorable experiences of my life.
Creating my exhibit with the University Archives has allowed me to take control of a project, from start to finish, for the first time as a public historian. I was empowered to tackle challenges on my own, to determine the narrative that I wanted to tell, and to design the exhibit around what I found to be important. When I began this project in August of 2019, I had never worked in an archive, digitized materials, or created a digital exhibit. Now, in April of 2020, I have gained new skills and experience in archival work, curation, and content creation.<br />
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When I met with Erin in August, I was handed the Women’s Betterment Association Collection from the University Archives and given the instructions to create a digital exhibit for the University’s website. The original plan for my exhibit was to tell the story of the Women’s Association for the Betterment of Public Schoolhouses (WABPS), the subject and source of the collection I was digitizing. It was my understanding that the WABPS were an organization created by and for women who were interested in improving the state of public education in North Carolina. As I continued searching through the documents from the WABPS, I found that the organization was nothing like I had expected. This ultimately changed the course of my exhibit, as I continued to discover new and conflicting information. To begin, the reach of the WABPS was far beyond what I had presumed. The original 200 women who began the WABPS in Greensboro quickly disseminated into nearly 100 Local and County Associations, with over 1,000 members, spread across North Carolina. In addition, I found the organization to be more radical that I expected, in that they allowed men to pay to be involved in the WABPS but their “honorary” membership afforded them no vote in the Association’s elections and no say in the purpose or direction of the WABPS. Sue Hollowell, the president of the State Association in Greensboro, at one point quipped about the men’s “honorary” membership, “taxation without representation, if you please.” While they were radical in some regards, they were more predictable in others.<br />
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The WABPS operated between 1902 and 1918, in the heart of the Jim Crow South. While I worked to craft the narrative of my exhibit, I grappled with interpreting the implicit prejudice in the Association’s documents. I learned early on that the organization was exclusive to white women (and later white men), as it was stated explicitly in the WABPS Constitution. I was content, at that point, to make that fact clear in the exhibit and move on; however, as I continued through the documents, the narrative continued to become more complicated. I could find no official documents from the Association that stated explicitly that the WABPS excluded black schools from their work, as I had originally assumed. More often than not, their language was vague, using phrases such as “all of God’s children” and “every child” to describe those affected by their work. By December, I was once again ready to write off their language as having implicit prejudice; I had no evidence that the WABPS worked with or for black children.<br />
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When I returned to the archives after winter break, I found reports from the presidents of several County Associations which I hadn’t seen before. Mary Taylor Moore, the recording secretary for the State Association in Greensboro, created them to have a better understanding of the work that the County Associations were doing. The question that intrigued me the most asked, “How many schools in your county have been affected by the work of the Association?” In many cases, the response was just a number: “nine” or “two.” However, some responses were more specific. Some responders used the qualifier “white” to describe the schools affected, but a few responded that “colored” schools in their county had been affected by the Association’s work as well. This was surprising to me, as it was the first time that I had evidence of “Betterment work” in black schools. <br />
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After this discovery, I added two new pages to my digital exhibit: “Race and Education” and “Gender in the Progressive Era.” The former expanded the discussion (raised on the first page) on North Carolina Governor Charles Aycock and his racist education policies at the turn of the century. It also introduced the organization’s complicated relationship with race and the difficulties of interpreting historical documents. The latter page, “Gender in the Progressive Era,” addressed the question: how radical were they really? The women certainly had
progressive methods of running their organization, but their original goal of “beautifying” school houses and grounds seemed superficial, fitting within the traditional gender roles prescribed to them. The women were challenging the male-dominated sphere of public school administration but they subscribed to contemporaneous notions about class and race.<br />
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When the text was written and the photos, documents, and metadata were entered into Omeka, my digital exhibit finally came together. Luckily, Erin Lawrimore (my supervisor and University Archivist) and I had decided to front-load my work for this semester so the project was wrapping up just as COVID-19 shut everything down.<br />
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This process has taught me a great deal about public history. Most importantly, I have come to trust my own instincts and accept not having an answer. In the past, I have mulled over a problem and tried my best to solve it despite knowing that there was no good solution. Rather than accept that and move on, I would find a way to avoid addressing the problem altogether.
After my capstone experience, I have found a new appreciation for accepting that I don’t have all the answers; I only have what is presented to me. It is not my place to decide what the women of the WABPS were thinking or what they meant in their documents, I can only disseminate that information within the social and political context that I understand.<br />
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As I reflect on my work over the last eight months, I believe that nothing summarizes it better than the evolution of my project title. In September, I titled my project, “The Women’s Betterment Association: A Digital Exploration of a Radical Group of Women.” The exhibit was going to present the radical and inspiring story of the WABPS; how the “Betterment workers” of North Carolina challenged the status quo. When I presented at the Digital Humanities Collaborative Institute in March, however, I titled my project, “A Complicated Group of Women: A Digital Exploration of the Women’s Association for the Betterment of Public Schoolhouses.” My exhibit now tells the story of the incredible work that these women did, the lengths they went to in order to achieve their goals, and the standard they set for public schools in North Carolina. It also tells the story of a racist and elitist governor, the poor state of North Carolina’s public schools at the turn of the century, and how segregation and systemic oppression left black students behind. The women of the WABPS were not radical, but they were not conservative: they were complicated, and I had to accept that. I accepted that I did not know the extent to which they were involved in improving black schools or the extent to which they embraced the (white) feminist movement. The narrative of my exhibit changed between September and April, but only for the better. I challenged myself with new questions to try to answer and a new story to tell the public, and I am incredibly grateful to have experienced this process.<br />
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<br />Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-27896478848680266472019-12-03T08:00:00.000-05:002019-12-03T08:00:03.461-05:00Legendary Cellist's Archive Added to UNC Greensboro Cello Music Collection<div class="separator" style="clear: both; text-align: center;">
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The <a href="http://library.uncg.edu/info/depts/scua/" target="_blank">Martha Blakeney Hodges Special Collections & University Archives</a> is pleased to announce the donation of the collection of the legendary cellist, János Starker. Starker is among the most acclaimed cellists of the 20th century. Born in Budapest in 1924, Starker was considered a child prodigy. After World War II, during which he spent three months in a Nazi internment camp, Starker left Hungary to compete and perform throughout Europe, eventually emigrating to the United States in 1948. Once in the US, Starker became principal cellist of the Dallas Symphony Orchestra (1948-1949), principal cellist of the Metropolitan Opera Orchestra (1949-1953), and principal cellist of the Chicago Symphony Orchestra (1953-1958). As a soloist, Starker performed in over 5000 concerts. He was a trend setter as a classical recording artist, with over 150 recordings. In 1997, he was awarded a Grammy for his recording of the Bach <i>Suites for Solo Cello</i> on the RCA Victor Red Seal. To this day, Starker is considered to be among the most authoritative interpreters of Kodaly’s <i>Sonata for Solo Cello</i>. In addition to his fame as a performer, János Starker was also a beloved teacher. In 1958, he was appointed Professor of Cello at Indiana University at Bloomington. <br />
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The János Starker Musical Score and Personal Papers Collection, generously donated by his estate, includes personal papers, writings, photographs, sheet music, and recordings among its many treasures. The staff of the UNC Greensboro Cello Music Collection are prioritizing the processing of the Starker Collection and are planning to digitize as much of the material as is copyright-allowable. The collection is open for access to the public during UNC Greensboro Special Collection & University Archives regular working hours, between 9:00am - 5:00pm, Monday through Friday. To facilitate your visit or if you have any questions, please contact the curator of the collection, Stacey Krim, at <a href="mailto:srkrim@uncg.edu">srkrim@uncg.edu</a> or 336.334.5498. <br />
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The <a href="http://library.uncg.edu/info/depts/scua/collections/cello/index.aspx" target="_blank">Cello Music Collections</a> at the Martha Blakeney Hodges Special Collections & University Archives at The University of North Carolina at Greensboro is dedicated to acquiring, preserving, and making accessible cello music collections for research and learning. The archive contains sheet music (manuscript and published), monographs, audio-video recordings, personal papers, and artifacts associated with cellists noted for their distinguished contributions in the areas of composition, performance, pedagogy, and research.<br />
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Stacey Krimhttp://www.blogger.com/profile/08786544232977383930noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-8095630891678496282019-10-01T12:51:00.000-04:002019-10-01T12:51:05.393-04:00Curtain's Up! The Carolina Theatre Records Come to Special Collections and University Archives<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;">The Martha Blakeney Hodges Special Collections and
University Archives is thrilled to announce that we are now the home to the
Carolina Theatre of Greensboro’s historic materials. A donation to our
Manuscript collections, the Carolina Theatre’s materials include programs,
marketing materials, slides, photographs, artifacts, and digital records.</span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;">The Carolina Theatre has been an important cultural
and business icon in downtown Greensboro since 1927. The Carolina Theatre’s
records will provide an amazing perspective on the history of downtown
Greensboro, performing arts, film, and local business for students, faculty,
researchers, and the general public.<br /></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Carolina Theatre, circa 1927.</td></tr>
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<span style="font-family: "times new roman", serif; font-size: 12pt;">As part of the ongoing relationship between Special Collections and the Carolina Theatre, Special Collections will continue to
receive materials from the theatre to ensure a continuous record of their
operations and impact on the Greensboro and the Triad.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Carolina Theatre sketch, 1982.</td></tr>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 107%;">We hope to begin processing the collection soon and
will provide more updates as the collection is arranged, described, and
digitized! Look for updates about the collection on this
blog and our social media platforms.<o:p></o:p></span></div>
<br />Patrick Dollarhttp://www.blogger.com/profile/11837797414230553605noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-17551639090345783072019-09-09T12:00:00.000-04:002019-09-09T12:46:35.037-04:00Forgotten Composers, a Cello Music Recital Featuring Yuriy Leonovich<div class="separator" style="clear: both; text-align: center;">
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<a href="http://library.uncg.edu/info/depts/scua/collections/cello/index.aspx" target="_blank">The Cello Music Collection</a> of the Martha Blakeney Hodges Special Collections and University Archives is home to the largest archival holding of cello music-related material in the world, including some of the world’s great cellists. It is the mission of the archive to preserve and make accessible manuscript and annotated sheet music and waiting for it to be musically resurrected through the hands of a musician. On Thursday, October 3rd, Special Collections and University Archives will be hosting a cellist who has accepted the challenge of reviving three compositions, two of which have not been publicly performed in the 21st century. <br />
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Born in Kyiv, Ukraine, cellist, composer, and arranger Yuriy Leonovich immigrated to the United States with his family. His teachers include cellists Stephen Geber and Robert DeMaine, and composer James Hartway. Leonovich earned his Doctorate of Musical Arts from the Cleveland Institute of Music. His compositions and arrangements have been played in North and South America, Europe, Asia, and Australia/Oceania. His music, including the Rusalka Fantasie, has been recorded on the Five/Four Productions label. Leonovich holds the Assistant Cello Professor position at Bob Jones University in Greenville, SC.<br />
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As a scholar and performer, Leonovich is a frequent researcher and visitor to the UNCG Cello Music Collection. It is out of this relationship that Leonovich and the curator of the collection, Stacey Krim, were inspired to offer a program open to the public, featuring some of the rarely performed music in the collection. In preparing for the October recital, Krim interviewed Leonovich, asking about his research and the uniqueness of the upcoming program.<br />
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<b>Krim:</b> Can you speak to the value of archival research for performers?<br />
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<b>Leonovich:</b> I am biased because libraries have been my second home for the last 23 years. Archives are often seen as a place for the elite scholars. Most performers love to have the reader's digest version of information handed to them. Their motto is, "just tell me what to play." Hundreds of thousands of musicians are sitting in orchestras and ensembles of all types, waiting for their conductor or leader to tell them what to play and how to play it. Most of these performers wouldn't know what to do with an archive.<br />
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Stacey Krim is unique in that she actively promotes the UNCG Archive, showing performers, students, and teachers the need to dig deeper. An archive is an invaluable window into the past. I think it's important for musicians to make informed decisions based on their own findings without the middleman. Middlemen tend to use condescension and peer pressure, speaking about certain scholars at certain popular music publishers. Find an archive near you in an area that interests you, and set up a time to talk to the curator. Even then, you will learn something great.<br />
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<b>Krim:</b> You have chosen to perform what some would consider an unconventional selection of music for this performance. What made you choose these pieces in particular?<br />
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<b>Leonovich:</b> Yagling was a no-brainer for me; I love Soviet music and remember hearing the finale of the Yagling Suite performed by Antonio Meneses on a Tchaikovsky Competition LP from 1982. With regards to the other two composers, Fitelberg and Jemnitz, I had never heard of them before. Once I saw the manuscripts, I found something pleasing about how they were written, the penmanship. These pieces have been very challenging to learn, but the sonic result has been very rewarding. <br />
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<b>Krim:</b> Do you have any additional plans for the music and composers you have selected beyond this performance? <br />
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<b>Leonovich: </b>I hope to give multiple performances of these works. In the case of Jemnitz, I am involved in a major research project and I made a studio recording of this sonata. I did a smaller research project on Fitelberg and recorded his sonata, <a href="https://yuriyleonovich.com/music" target="_blank">now available on my website for download</a>. I see myself digging more into Fitelberg in the future. I will definitely play and record Yagling, but have not researched her life too much yet. Yagling died only 8 years ago. <br />
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<b>Krim:</b> Why do performers seem to avoid 20th and 21st century composers?<br />
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<b>Leonovich:</b> One of the reasons musicians avoid modern and contemporary music is because they don't understand contemporary art. This is true across the fine and visual arts. There is often a knee-jerk reaction against the current and a tendency to embrace the classic. Within that group of people, there will be a majority that also enjoys the popular. When we talk about composers, we immediately think of "high art music." On the other side you have the contemporary pop music, which speaks more in laymen's terms and is music easier to understand. ...think of an art gallery vs. phone pictures on social media. Both art and popular music reflect the times in different ways. Often art music is more difficult to understand, thus, more difficult to sell to an audience.<br />
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Copyright laws play a big role in why performers intentionally and unintentionally avoid music from the last 100 years. Not to go into details, but publishers are currently the gatekeepers of music, and once the composer dies or the publisher goes out of business, the music also dies. The copyright law helps that music stay dead in some cases for 150 years. Because of self publishing, it's becoming easier to access new music.<br />
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I can say with confidence that all three pieces on this program have been dead for a long time. The version of Jemnitz I am playing has not been heard since 1933. The Fitelberg was most likely last performed in 1946.<br />
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If you are a interested in learning more about Leonovich and these compositions, or are a fan of cello music, <b>please join us for Forgotten Composers, a Cello Music Recital Featuring Yuriy Leonovich, Thursday, October 3, 4:00 pm-5:30 pm in the Hodges Reading Room, 2nd Floor Main Building, W.C. Jackson Library.</b> The event is free and open to the public.<br />
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<b>Program: <br /><br />Cello Sonata (1945), Jerzy Fitelberg<br /><br />Cello Sonata, Op. 31, (1931, rev. 1933) Sándor Jemnitz<br /><br />Suite for Violoncello Solo No. 1 (1982), Victoria Yagling</b><br />
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If there are any questions relating to this event, please contact Stacey Krim at 336.334.5498 or <a href="mailto:srkrim@uncg.edu">srkrim@uncg.edu</a>. <br />
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Stacey Krimhttp://www.blogger.com/profile/08786544232977383930noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-19233236820925577872019-08-19T16:38:00.002-04:002019-08-26T10:54:58.357-04:00New Exhibit Shines Flashbulb on Arnold Doren, Photographer and UNC Greensboro ProfessorA new exhibit on the first floor of Jackson Library shines a spotlight on American and international lives during Woodstock, the Sturgis motorcycle rally, the Greensboro Massacre, and street and landscape scenes from Beijing.<br />
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<tr><td class="tr-caption" style="text-align: center;">Arnold Doren, undated.</td></tr>
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Located in the three exhibit cases by the reference desk on the first floor, the exhibit is created using reproductions from the Arnold Doren Papers. The Doren Papers includes photographs, slides, negatives, and digital photographs from Doren’s long career as a photographer. The collection also contains Doren’s personal papers, including some of his teaching materials. The collection’s materials date from the late 1960s to the early 2000s. The materials on display are a small sample of some of Doren’s photographs, showing the range of subjects he captured during his long career.<br />
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Arnold T. Doren (1935-2003) was born on July 29, 1935, in Chicago, Illinois, to Hy and Rose Dorenfield. Doren eventually changed his name from Dorenfield to Doren.<br />
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Doren’s interest in photography began when he was a teenager, photographing local life and high school athletics. Doren went on to serve in the Korean War as a Navy journalist in the Public Information Office. After his time in the military, he attended the Rochester Institute of Technology, where he received his Associate of Applied Science (A.A.S.) and Bachelor of Fine Arts degrees. While at RIT, Doren studied photography under famous photographers Minor White and Ralph Hattersley.<br />
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Doren discovered his passion for art photography while working in New York City as an assistant to photographers Irwin Blumenthal, Irving Penn, and Alan Vogel. His work in New York him to travel both in the United States and internationally. Doren’s photography often focused on documenting people – he photographed portraits, major social events, or everyday life in towns and cities.<br />
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<tr><td class="tr-caption" style="text-align: center;">Crowd at the Woodstock Festival, 1969.</td></tr>
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His travels eventually led him to a commune in Woodstock, leading to his famous photographs of the Woodstock Festival in 1969 and Jimi Hendrix’s closing performance. A major piece of the exhibit, the Woodstock photographs were selected to mark the festival's 50th anniversary in 2019.<br />
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Doren spent a significant amount of time traveling across the country photographing his series of “Americana Faces.” This series included photographs of Native Americans, various roadside cultures, and individuals across the country. A Greensboro Daily News article in 1979 suggested that “the photographs in this series all could have been taken 40-50 years ago.” Doren strived to capture a historical America by photographing its people, scenery, and cultures.<br />
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In 1978, Doren joined the faculty of UNC Greensboro as an assistance professor of photography. In 1984, he became an associate professor of photography in the Art Department. He continued to travel and photograph lifestyles, including people and events in Greensboro. In 1998, Doren received a Fullbright-Hayes grant, which allowed him to travel across China to photograph the country and its people.<br />
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New Internationally recognized, Doren’s photography has been displayed in galleries across the world. Doren remained at UNC Greensboro until his retirement in 2002. In 2003, Doren passed away in his home. Special Collections and University Archives received the collection in 2009.<br />
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Visit Special Collections and University Archives at the Martha Blakeney Hodges Reading Room on the second floor of Jackson Library if you want to learn more!<br />
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Patrick Dollarhttp://www.blogger.com/profile/11837797414230553605noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-90245942790344066262019-07-11T15:27:00.000-04:002019-09-23T00:18:29.220-04:00New Exhibit in the Hodges Reading Room<div class="separator" style="clear: both; text-align: center;">
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<b>“Setting a Proper Table: 1860-1960” </b><br />
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“There’s something special about gathering a few favorite people for a meal. A beautifully set table is the perfect canvas for a delicious meal.”<br />
Chantal Larocque<br />
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An elegantly set table is more than a backdrop for a good meal, it can also reflect social status, proper etiquette, and cultural traditions. Seemingly minute details, such as the placement of utensils, reflected important aspects of the meal, from the status of the guests to the dishes being served.<br />
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The Victorian era in Britain saw a growing interest in table settings, a trend which was soon reflected in American society as well. With the rise of the middle class, many families were in a financial position to entertain, and purchased expensive crystal, china, silver, and ivory. The purpose was to closely emulate the upper class and nobility who populated their table with as many intricate service pieces as possible, requiring a knowledge of etiquette that would reflect their social station. Meals were served in “courses” (a la russe), allowing more space at the table for elegant china, utensils, and floral arrangements. The quality and quantity of serving pieces reflected the host’s wealth and station. The lower classes’ tables had plates made of wood and pottery, while the upper classes purchased fine china and employed silversmiths and craftsman to create sumptuous table settings.<br />
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Floral arrangements enhanced the tableware and in some cases decorators were brought in to install “artificial gardens” to delight guests. Dinner parties became popular and American tables were set with European tableware. Books were published by authors, such as Mrs. Isabella Beeton, to help the lady of the house keep up with table manners and settings.<br />
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Table settings became less extravagant in the years following World War I, as house staff diminished, and women moved progressively into the workforce. This trend would continue through the next war, as advances in household appliances and prepackaged meals required less extravagant table settings. Increasingly, the focus was to simplify – leaving more elaborate table settings to holidays and special occasions.<br />
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This exhibit, “Setting a Proper Table: 1860-1960,” features china and silver that would have been seen on tables from 1860 to 1960.<br />
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Kathelene McCarty Smithhttp://www.blogger.com/profile/01990514024414375162noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-8013259760272769812019-05-15T07:30:00.000-04:002019-05-15T07:47:03.931-04:00A New Addition and an Epic Story: The UNC Greensboro Cello Music Collection welcomes the manuscripts and papers of Lubomir Georgiev<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: inherit;"><a href="http://library.uncg.edu/info/depts/scua/" style="text-decoration: none;"><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration-skip-ink: none; text-decoration: underline; vertical-align: baseline; white-space: pre-wrap;">The Martha Blakeney Hodges Special Collections &University Archives</span></a><span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"> is pleased to announce the donation of an important addition to the UNC Greensboro Cello Music Collection. The archive has received the manuscripts, personal papers, recordings and photographs of Bulgarian cellist, teacher, and composer, Lubomir Georgiev. This is a second, critical part to the initial sheet music collection, which was received in 2014. As the <a href="https://uncg.as.atlas-sys.com/repositories/2/resources/185" target="_blank">original donation</a> only consisted of annotated sheet music, these recently donated materials contribute to understanding the breathtaking story behind Lubomir Georgiev as a performer, teacher, composer, and political refugee.</span></span></div>
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<span style="background-color: transparent; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Lubomir Georgiev (b. Dec. 24, 1951, Varna, Bulgaria - d. May 31, 2005, Tallahassee, FL) studied with cellist Zdravko Jordanov, composer and violinist Marin Goleminov, and composer and pianist Alexander Raytchev at the Bulgarian State Academy of Music “Pantcho Vladigerov” in Sofia. He graduated with his Bachelor of Music in Cello Performance in 1976 and his Bachelor of Music in Composition in 1978. A talented performer, Georgiev’s reputation was established quickly in Bulgaria. He became principal cellist and soloist for the Sofia Philharmonic Orchestra by 1978, touring throughout Europe and North America with the symphony. As a composer, Georgiev was winner of the Youth Creativity Award of the Bulgarian Composer’s Union in 1980 for his <i>Concerto for Cello and Orchestra</i>, as well as first prize at the Carl-Maria von Weber International Competition in Dresden, Germany only a year later for his string quartet, <i>Musica Multiplici Mentes</i>. By his late 20s, Georgiev was a rising star as a performer and composer with ambitions to refine his musicianship and well along the path to making his name known worldwide. Unfortunately, to be overly aspiring in his homeland at this time was dangerous. <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkk2HCouBGfkIMvgmGSN-An2glSLx8iQFcRp9fWqN9ha-g6q-kJjc1gGduQWp4l-GMzRsITgvVBuvdXLDDe1EGFkvlPsaJqzLsMIEvyv8XYorQGRHDMry1hhKuOkTCnJctYTzG4KqD86iv/s1600/Georgiev_4.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1086" data-original-width="1600" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkk2HCouBGfkIMvgmGSN-An2glSLx8iQFcRp9fWqN9ha-g6q-kJjc1gGduQWp4l-GMzRsITgvVBuvdXLDDe1EGFkvlPsaJqzLsMIEvyv8XYorQGRHDMry1hhKuOkTCnJctYTzG4KqD86iv/s400/Georgiev_4.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Georgiev performing as the soloist, 1981</td></tr>
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<span style="font-family: inherit; white-space: pre-wrap;">Bulgaria between 1946 to 1990 actually was known as The People’s Republic of Bulgaria, controlled by the Bulgarian Communist Party in close alliance with the Soviet Union. It was a country in which the government diligently watched over and controlled the lives of its citizens, regulating external cultural influences so as to avoid any potential corruption or subversion to Communist ideology. Musicians, such as Georgiev, were permitted limited access to the arts and artists from non-communist countries, but there were few avenues for creative growth. The government enforced strict adherence to Communist values and state loyalty.</span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">As an artist, Lubomir Georgiev recognized that Communism directly repressed the heart of his identity as a musician. When he became principal cellist in Sofia, it was demanded that he officially join the Communist Party, but he refused. Yet again, two years later in 1980, it was demanded that Georgiev join the Party, and he declined. Needless to say, this did not endear Georgiev to Communist officials. Georgiev’s clash with Communism culminated in 1986 during a visit to Bulgaria by the famous cellist, János Starker. This was Starker’s second visit to Bulgaria in which Georgiev was able to study with him, and on both occasions, Starker invited Georgiev to be his student at Indiana University Bloomington. The prospect to develop himself as a musician with such a legendary artist was the opportunity Georgiev craved and what was denied to him by living in a Communist country. He began making plans to travel to the United States to become Starker’s student. </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH-2rnqOcTo9_6D8ssHRcJ1ZknGLOcyxsRm5dGYY_dzmfXVuT2GZxWtGuy93x6enEUrE_1mxgJ7Vjy14JqYzbVY4PXeu0Wlks6Aui1FLTpKHNAYJPUA863x2IzopMUEMUKNKA-fZQhCDlk/s1600/Georgiev_with_Starker.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="color: black;"><img border="0" data-original-height="1129" data-original-width="1600" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH-2rnqOcTo9_6D8ssHRcJ1ZknGLOcyxsRm5dGYY_dzmfXVuT2GZxWtGuy93x6enEUrE_1mxgJ7Vjy14JqYzbVY4PXeu0Wlks6Aui1FLTpKHNAYJPUA863x2IzopMUEMUKNKA-fZQhCDlk/s400/Georgiev_with_Starker.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Georgiev performing in a master class for János Starker in Bulgaria </td></tr>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;"> </span></span><span style="font-family: inherit; white-space: pre-wrap;">Georgiev’s choice came with great risk; to travel to the United States, he would need an American visa, but it was forbidden for a Bulgarian citizen to directly contact anyone at the American Embassy. The Bulgarian government feared not only the potential for espionage, but also that its citizens would defect. Consequently, Georgiev arranged a secret meeting with a cultural attaché to the American Embassy in Sofia. They were set to meet at 3:00 pm on May 5, 1986 at a park bench in front of the National Theater.</span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Georgiev arrived at the meeting place early and saw the attaché approaching. Before the diplomat got to the bench, two men abducted Georgiev and transported him to a nearby building in which he was imprisoned in the basement. He was interrogated for several hours about his motives for contacting the American Embassy. Eventually, he was sent back to his house with his wife, where he was told to remain until contacted. The Bulgarian agent who originally questioned Georgiev visited him after two days and informed Georgiev that he would be allowed to travel to the United States on one condition; Georgiev was to serve as a spy for Bulgaria. He was given permission to leave Bulgaria for five months to study with Starker and was forced to leave his wife behind in Bulgaria. Georgiev made it to the United States on January 8, 1987 and would not set foot in Bulgaria again until after the fall of the Communist government.</span></span></div>
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<span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMF2zbs30DSeHtwSX86O8nzbmdTcUcAG5sJ1dUFIYyG8dxBLPmdJVSosnx_DiEaozbDNyUP_VVnmxRB86OLdTKEUEID8b869lWQwVma2zdRwIxcktZbnoycPXwGy26mvuOWGZKKgo1-Es8/s1600/Georgiev_Letters_0.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1245" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMF2zbs30DSeHtwSX86O8nzbmdTcUcAG5sJ1dUFIYyG8dxBLPmdJVSosnx_DiEaozbDNyUP_VVnmxRB86OLdTKEUEID8b869lWQwVma2zdRwIxcktZbnoycPXwGy26mvuOWGZKKgo1-Es8/s320/Georgiev_Letters_0.jpg" width="249" /></a></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">When it became apparent that Georgiev was not serving as a spy and had no plans to return to Bulgaria, government officials began to get nervous. Georgiev’s wife at the time, Rossitza Dontcheva Georgiev, had applied for a passport and visa to travel in 1987, and when she went to the police station to collect the documents, government officials were waiting for her. Rossitza was interrogated, and after it was ascertained that she could speak English, she was told that she was to travel to the United States to find and retrieve her husband, acting as a spy for the Bulgarian government for the forty days she was allotted for the task. Ultimately, Rossitza would travel to the United States and remain with her husband.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;"> </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Physical residency in the United States did not mean that Lubomir Georgiev was safe against reprisal from the Bulgarian government for his defection. Georgiev had been scheduled for a five-concert tour in Japan during the Summer of 1987. As his status as a political refugee in the United States was not official yet, Georgiev technically was a Bulgarian citizen still, and the country would not issue the required permissions for him to travel to Japan, thus sabotaging his performance tour. Eventually, the Japanese Embassy did intervene, and the Bulgarian government did issue the permission, but it was issued five days after the tour began, making it impossible for Georgiev to participate in the tour. </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Although performing was impossible for Georgiev immediately after defecting to the United States, he was able to indulge in his original purpose. Once at Indiana University, Georgiev thrived, studying not only with János Starker, but with such great musicians as <a href="https://uncg.as.atlas-sys.com/repositories/2/resources/407" target="_blank">Fritz Magg</a> and David Baker. He graduated with his Artist’s Diploma in Cello Performance from the Indiana University School of Music in 1988. This was an important year, as Georgiev officially was granted asylum on November 22, 1988. With protection granted by the United States, Georgiev was able to find employment, serving as principal cellist of the Richmond Symphony in Indiana from 1989 to 1993.</span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">After settling in the United States, Georgiev became known as a teacher and performer. Georgiev was hired as an Assistant Professor of Cello at Florida State University (FSU) and began serving as principal cellist for the Tallahassee Symphony Orchestra in 1993. He made multiple appearances as a soloist, in addition to performing in chamber ensembles. In 1995, after the fall of Communism in Bulgaria, Georgiev even returned to his birthplace of Varna on a tour to perform and teach a new generation of Eastern European cellists. </span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">The<a href="http://library.uncg.edu/info/depts/scua/collections/cello/index.aspx" target="_blank"> UNC Greensboro Cello Music Collection</a> of the Martha Blakeney Hodges Special Collections & University Archives is excited to provi<span style="font-family: inherit;">de exposure and access to Lubomir Georgiev’s collection, bringing attention to the public the story of his life and providing support to researchers and performers. Once the manuscript compositions are processed and cataloged, there are plans to provide free digital access to Georgiev’s compositions and arrangements (copyright permitting), <span id="docs-internal-guid-ba4394c7-7fff-1bdf-2395-065f6bd0fd4e"><span style="vertical-align: baseline;">permitting researchers worldwide to explore Georgiev as a composer and allowing performers the opportunity to bring his music to life</span></span>. Additionally, the collection includes materials that can be incorporated into class instruction, including the paperwork relating to his petition for asylum in the United States. Lubomir Georgiev is in good company among the other cellists represented in the UNC Greensboro Cello Music Collection, masters of their instrument and many of whom were political refugees.</span></span></span></div>
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<span style="background-color: transparent; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;"><span style="font-family: inherit;">Consisting of the archival collections of sixteen cellists, the UNC Greensboro Cello Music Collection constitutes the largest single holding of cello music-related material worldwide. </span></span></div>
Stacey Krimhttp://www.blogger.com/profile/08786544232977383930noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-12462215902323611422019-04-09T15:28:00.000-04:002019-04-09T15:29:06.257-04:00An Intern’s Experience with Artifacts<i>*Sarah Maske is a senior at UNC Greensboro, with a double major in history and archaeology. She is interning in the Martha Blakeney Hodges Special Collection and University Archives for the spring 2019 semester. </i><br />
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<tr><td class="tr-caption" style="text-align: center;">SCUA intern, Sarah Maske</td></tr>
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This semester, I am interning in the Martha Blakeney Hodges Special Collections and University Archives (SCUA) for HIS 390, a course offered by the History Department as a way for students to gain experience in the Public History field. My main project is to process material for the University Archives artifact collections. I am two and a half months into my semester long internship and I have loved every minute of my time here. The last four years I have spent a lot of time researching in the archives, but to work inside the stacks and to be a part of caring for a collection is a whole new experience for me.<br />
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I want to share some of what I learned about processing materials, and what it is like working with artifacts related to the University. Archival processing is essentially how materials are added to an archival collection. I found that researching the origins of an artifact and its significance to the University is my favorite part of the internship. Nevertheless, this is also one of the most frustrating parts of processing because sometimes it is hard to track the history of an artifact. Yet when your research is fruitful, it is so exciting!<br />
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<tr><td class="tr-caption" style="text-align: center;">Diebold Safe</td></tr>
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When I am researching, I try to picture what type of life the artifact had. I sometimes wonder if an artifact was a person what stories it would tell. My favorite books as a child were the Strange Museum series by Jahanna N. Malcolm. The series was about two siblings who lived above a museum, and if they touched an artifact after the museum closed, they would travel back in time to meet the artifact’s owner. When I am processing an artifact I always think about this series. It is moments when I am struggling to find information on an artifact that make me wish time travel was not limited to a work of fiction.<br />
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So far, I have processed or reprocessed, at least 50 artifacts and each are unique in their own way. Some artifacts are connected to buildings (you would be surprised by how many bricks are in the artifact collection), while others are connected to a single student or faculty member. Some are important awards and others seem like the most obsolete objects, such as laundry cards. As a researcher with an archaeology background, I find these little artifacts rich resources to understand the everyday life of the students. For example, a laundry card contains a list of different articles of clothing, so as a researcher the card illustrates what types of clothing were popular in the 1940s.<br />
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<tr><td class="tr-caption" style="text-align: center;">Woman's College Make-Up Case</td></tr>
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Sometimes I think about what artifact I could add to the collection that would be memorable and aid a researcher in understanding what it was like to be a student on campus in 2019. Would my flyer I kept from a lecture on Roman pigments or my Honors Ambassador name tag be helpful to a future researcher? To be honest, I keep a lot of objects and notes from my time at UNC Greensboro. Any flyer from an important event or course notes go in chronological order to be packed away in my room at home. At times, I worry that I toe the fine line between hoarder and collector. Anyone else would throw it all away, but I would like to think someone in the future, who thinks like me will think my notes from my courses and keepsakes are interesting. As someone who is actively using the artifact collection, I am appreciative of the people who thought to donate their buttons, rain caps, stickers, toasters, and paperweights. Each one of these artifacts lets me see a small glimpse into the past.<br />
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Every time I work in the archives, I experience something new. SCUA has a wide variety of artifacts, whether it’s bricks from demolished buildings, a makeup case, a handkerchief from a former Queen of England, or even an antique crib. One day, I might crawl under a chair to look for manufacturer’s markings and the next day box buttons from the most recent campus event. I am so lucky to work with artifacts that have interesting histories. Working with the University Archive Collection has helped me grow as a public historian, and I am forever grateful to SCUA for this experience.<br />
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<br />Kathelene McCarty Smithhttp://www.blogger.com/profile/01990514024414375162noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-34472823945918332252019-04-01T13:35:00.002-04:002019-04-01T13:35:44.052-04:00Reminder: Triad History Day is April 6th!!Join us for the first annual Triad History Day on Saturday, April 6, 2019, from 10AM until 3PM, at the Greensboro History Museum (130 Summit Ave, Greensboro, NC 27401)!<br />
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Triad History Day is a one-day public festival focused on Triad history, both the stories and the people who preserve them. The event will feature a “history hall” with displays from history organizations, a series of lightning round talks focused on local history, as well as booths focused on oral history, preservation advice, and digitization of community materials. Learn more here: <a href="https://www.facebook.com/events/1245098408985423/" target="_blank">https://www.facebook.com/events/1245098408985423/ </a><br />
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We need volunteers too! Please sign up here if you would like to help us make this an awesome event: <a href="http://go.uncg.edu/triadhistoryvolunteers">http://go.uncg.edu/triadhistoryvolunteers</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWVdKSogJWMVNw6OjlPb18k7XqUbufzJFFdDdsjET-_3LK-gCFvKK3hpSoqNIbFX97Z29-xMvOlJkejCcP8KaW_Grax559vvPFXTFZEuMt9z7-VoiFsgK0lc1wPUum4exQY4E53aLYwo4/s1600/52829699_2372025359498940_1731501097421373440_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWVdKSogJWMVNw6OjlPb18k7XqUbufzJFFdDdsjET-_3LK-gCFvKK3hpSoqNIbFX97Z29-xMvOlJkejCcP8KaW_Grax559vvPFXTFZEuMt9z7-VoiFsgK0lc1wPUum4exQY4E53aLYwo4/s400/52829699_2372025359498940_1731501097421373440_o.jpg" width="400" /></a></div>
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Participating institutions include:<br />
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<ul>
<li>African American Genealogical Society </li>
<li>Alamance Battlegound </li>
<li>American Home Furnishings Hall of Fame Foundation </li>
<li>Belk Library, Elon University </li>
<li>Blandwood/Preservation Greensboro </li>
<li>Bluford Library, NC A&T State University </li>
<li>Charlotte Hawkins Brown Museum</li>
<li>Digital Collections, University Libraries, UNC Greensboro </li>
<li>Green Book Project, NC African American Heritage Commission </li>
<li>Greensboro History Museum </li>
<li>Greensboro Public Library </li>
<li>Guilford County Register of Deeds </li>
<li>High Point Museum </li>
<li>Hodges Special Collections and University Archives, UNC Greensboro </li>
<li>Holgate Library, Bennett College </li>
<li>Mendenhall Homeplace of Historic Jamestown Society </li>
<li>Moravian Archives </li>
<li>North Carolina Collection, Forsyth County Public Library </li>
<li>O'Kelly Library, Winston-Salem State University </li>
<li>People Not Property, UNC Greensboro </li>
<li>PRIDE of the Community, UNC Greensboro </li>
<li>Quaker Archives, Guilford College </li>
<li>Well Crafted NC, UNC Greensboro </li>
<li>ZSR Library, Wake Forest University</li>
</ul>
Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-72828521114554121582019-03-15T08:42:00.001-04:002019-03-15T08:42:33.060-04:00New Exhibit!: "UNC Greensboro Back to the Future: The Story of the 1960s"On March 14, 2019, more than thirty people stopped by Hodges Reading Room for an open house event to celebrate our new student-curated exhibit "UNC Greensboro Back to the Future: The Story of the 1960s." Student curators provided visitors with personalized tours of the exhibit and provided reflections on their experiences researching campus history.<br />
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This exhibit was curated by graduate student Erin Blackledge with assistant from undergraduate students Alexis Castorena and Malory Cedeno. Sarah Colonna, Associate Faculty Chair for Grogan College, and Erin Lawrimore, University Archivist and Associate Professor, served as grant coordinators and faculty advisors for the exhibit. Student curator stipends were funded through a grant from the UNC Greensboro Interdisciplinary Collaboration Committee.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRyh4yrOpCqaZ6QGfH3-D1yR2ndrXLi66rEtGiwoZGfmxYhYLxWAqcw6FDxVg4w6Jw5Y5OaRld0UeIj7CZYEoTG0TMaRDhFY1VON4DbhwVZ6aHLPw2OEYceRv7ogsaGtkYejW_tUCsQGQ/s1600/IMG_2637.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRyh4yrOpCqaZ6QGfH3-D1yR2ndrXLi66rEtGiwoZGfmxYhYLxWAqcw6FDxVg4w6Jw5Y5OaRld0UeIj7CZYEoTG0TMaRDhFY1VON4DbhwVZ6aHLPw2OEYceRv7ogsaGtkYejW_tUCsQGQ/s400/IMG_2637.JPG" width="400" /></a></div>
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"UNC Greensboro Back to the Future" is available for viewing in Hodges Reading Room through June 2019. Hodges Reading Room is on the second floor of Jackson Library. The exhibit is open Monday through Friday between 9am and 5pm.<br />
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By combining reflections and poems from current undergraduate students from Grogan Residential College with primary sources from the 1960s, "UNC Greensboro Back to the Future" explores the enormous social changes that arose during this momentous decade and demonstrates how UNCG students today reflect on its past. Topics explored include campus desegregation, civil rights movements, and the transformation from Woman's College to UNCG.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim5g_f7aa1nu1J6bzXugTCAwtLG8iybFtEPFl-N6NRZf-S0GaVaDEYTjeMW-Q7SaUoTyV_2CZwbkbyuJcRHi1P8uAuSRDbt-r_mZL7pcY56QjOp_V1SM-NTmhRlerF5TydMoO_dmIdhO4/s1600/SCUA60s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim5g_f7aa1nu1J6bzXugTCAwtLG8iybFtEPFl-N6NRZf-S0GaVaDEYTjeMW-Q7SaUoTyV_2CZwbkbyuJcRHi1P8uAuSRDbt-r_mZL7pcY56QjOp_V1SM-NTmhRlerF5TydMoO_dmIdhO4/s400/SCUA60s.jpg" width="400" /></a></div>
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This exhibit is part of UNC Greensboro's year-long celebration "The '60s: Exploring the Limits." You can learn more about the campus's upcoming events and activities to examine and understand this decade at <a href="http://sixties.uncg.edu/">sixties.uncg.edu</a>.<br />
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Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-15206202932378191852019-03-07T15:48:00.002-05:002019-03-07T15:49:03.866-05:00Save the Date! Triad History Day is April 6th<br />
Join us for the first annual Triad History Day on Saturday, April 6, 2019, from 10AM until 3PM, at the Greensboro History Museum (130 Summit Ave, Greensboro, NC 27401). Triad History Day is a free one-day public festival focused on Triad history, both the stories and the people who preserve them.<br />
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The event will feature a “history hall” with displays from history organizations, a series of lightning round talks focused on local history, as well as booths focused on oral history, preservation advice, and digitization of community materials.
Visitors can learn more about local archives, museums, libraries, and other historical organizations in the “history hall.” Participating institutions include representation from all over the Triad. See the complete participating institution list below.<br />
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Visitors with photographs or other records that help document Triad history can bring materials to the scanning station at Triad History Day. There, archivists will scan the materials for inclusion in UNC Greensboro’s community history portal. Visitors will also receive a copy of the scan.<br />
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An oral history booth will allow participants the opportunity to record a 15-minute interview about an interesting story related to the Triad region. Interviews may involve two friends having a conversation, a family member interviewing a family member, or an individual being interviewed by a UNCG graduate students serving as an oral history facilitator. Interviews would be made available through the <a href="http://triadhistory.org/">TriadHistory.org</a> digital collection portal.<br />
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A series of short talks about local Triad history will take place throughout the day, with speakers announced in late March.<br />
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You can get updates and reminders for Triad History Day via our Facebook event page: <a href="http://www.facebook.com/events/1245098408985423/">http://www.facebook.com/events/1245098408985423/</a>.
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We hope you'll join us for a fun, family-friendly celebration of Triad history!<br />
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<b>List of participating institutions: </b><br />
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<ul>
<li>African American Genealogical Society</li>
<li>American Home Furnishings Hall of Fame Foundation</li>
<li>Belk Library, Elon University </li>
<li>Blandwood/Preservation Greensboro </li>
<li>Bluford Library, NC A&T State University </li>
<li>Charlotte Hawkins Brown Museum </li>
<li>Digital Collections, University Libraries, UNG Greensboro </li>
<li>Green Book Project, NC African American Heritage Commission </li>
<li>Greensboro History Museum </li>
<li>Greensboro Public Library </li>
<li>Guilford County Register of Deeds </li>
<li>High Point Museum </li>
<li>Hodges Special Collections and University Archives, UNC Greensboro </li>
<li>Holgate Library, Bennett College </li>
<li>Mendenhall Homeplace of Historic Jamestown Society </li>
<li>Moravian Archives </li>
<li>North Carolina Collection, Forsyth County Public Library </li>
<li>O'Kelly Library, Winston-Salem State University </li>
<li>People Not Property, UNC Greensboro </li>
<li>PRIDE of the Community, UNC Greensboro </li>
<li>Quaker Archives, Guilford College </li>
<li>Well Crafted NC, UNC Greensboro </li>
<li>ZSR Library, Wake Forest University</li>
</ul>
Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-74131950515693359092019-02-18T13:54:00.004-05:002019-02-18T13:54:57.259-05:00Kick Off Event for Archives, Archiving, & Community EngagementJoin us on Friday, March 15th at 2pm for a kick off event for the campus-wide <b>Archives, Archiving, and Community Engagement</b> discussion group. This group will be led by UNCG University Archivist Erin Lawrimore and is sponsored by UNC Greensboro's Institute for Community and Economic Engagement (ICEE) Faculty Fellows Program.<br />
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We will meet in Hodges Reading Room (219 Jackson Library) to chat about how we can collaborate to ensure that artifacts of community-engaged scholarship as well as the archives of our partner communities are preserved in a sustainable, accessible way.<br />
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Everyone - faculty, staff, administrators, students, and community members - is welcome to join us and help guide the direction of the group's discussions throughout 2019. For more information, please see: <a href="http://communityengagement.uncg.edu/archives-archiving-and-community/">http://communityengagement.uncg.edu/archives-archiving-and-community/</a>.<br />
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You can also keep up with the event via Facebook at: <a href="http://www.facebook.com/events/784479635220770/">http://www.facebook.com/events/784479635220770/</a>.<br />
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<br />Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-64839113855716025682019-02-04T11:46:00.002-05:002019-02-04T11:46:34.408-05:00Hop into History this Spring - save the dates!We're once again going to Hop into History at Gibb's Hundred Brewing this semester! We've got three dates scheduled this Spring:<br />
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<ul>
<li>Thursday, February 21 </li>
<li>Thursday, March 21 </li>
<li>Thursday, April 18 </li>
</ul>
All will be from 5-7pm at Gibb's location at 504 State Street in Greensboro.<br />
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The February event will focus on Charlotte Hawkins Brown and the Palmer Memorial Institute. The awesome folks at the Charlotte Hawkins Brown Museum in eastern Guilford County will be bringing artifacts that show Dr. Brown's work as an educator, as well as her work as a supporter of suffrage, civil rights, and social justice. Founded by Dr. Brown in 1902, Palmer was one of the first elite Black boarding schools in the South. Open until 1971, Dr. Brown transformed the lives of more than 1,000 African American students. You can learn more at the Facebook event page: <a href="https://www.facebook.com/events/2188513461398141/">https://www.facebook.com/events/2188513461398141/</a>.<br />
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Also, if you want to do some preliminary reading to learn more about a connection between Dr. Brown and UNCG, we have a Spartan Stories post from a few years ago about how the state's Jim Crow segregationist laws impacted her students and their ability to attend performances in Aycock (now UNCG) Auditorium: <a href="https://uncghistory.blogspot.com/2015/02/charlotte-hawkins-brown-walter-clinton.html">https://uncghistory.blogspot.com/2015/02/charlotte-hawkins-brown-walter-clinton.html</a>.<br />
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We hope to see many of you at these events!Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-91753678408297251622019-01-15T11:12:00.001-05:002019-01-15T13:38:38.713-05:00A Well Crafted NC update!Our <a href="http://www.wellcraftednc.com/" target="_blank">Well Crafted NC project</a> continues to grow! Well Crafted NC is a collaborative project that documents the history of North Carolina beer and brewing through oral history interviews with industry leaders and archiving the records of individual small businesses. The craft beer industry in North Carolina has an annual economic impact of over $2.1 billion and provides more than 12,000 jobs across the state, so Well Crafted NC was created to ensure that the history of this important business sector is preserved.<br />
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In Summer 2018, University Archivist Erin Lawrimore received a <b>UNCG Faculty First Award</b> to support a series of oral history interviews with women brewers and brewery owners in North Carolina. Twenty-three women's stories were recorded for the project, bringing to total number of interviews in Well Crafted NC as of January 15, 2019, to 34. You can read more about this work in the Spring 2019 issue of UNCG Research Magazine (<a href="https://researchmagazine.uncg.edu/spring-2019/womens-work/?fbclid=IwAR2-3pSRPnKAHsldtubDC1qVAkFCCDfuQ_WrgHCiwiLZRKfKiPrzJ3olYwU" target="_blank">see the article online here</a>). You can also listen to some of the women interviewed during this project talk about the importance of the Pink Boots Society, an organization focused on supporting women in the beer industry, in this video:<br />
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Additionally, the Well Crafted NC team received a grant through <b>UNCG's Community-Engaged Pathways and Partnerships Collective Scholarship Fellows program</b>, which aims to strengthen collective approaches to community-engaged scholarship through the development of sustainable pathways and partnerships that build deep, reciprocal processes to achieve mutually beneficial, community-identified priorities. The team, which includes faculty from the University Libraries as well as the Bryan School, will work with the Triad Brewers Alliance to document the history of local breweries and train local breweries on how to utilize their history to increase marketing and tourism for craft beer in the Triad. <br />
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We also received an in-kind award (100GB of digital storage) from Archive-It to create two <b>web archive collections</b> focused on beer and brewing. The Archives of Beer and Brewing will focus on documenting websites of influential craft breweries across the U.S.
The Beer Bloggers Archive will focus on prominent national beer blogs. We're asking the public to help us identify beer blogs for inclusion in this web archive collection. You can nominate sites <a href="https://docs.google.com/forms/d/e/1FAIpQLSd9nMs4d9lBASfEdkgZAQL3_4Op9vW2Oe8RO7NR17brSQRtsA/viewform" target="_blank">here</a>.<br />
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In addition to the grants and special projects, in November 2018, the Well Crafted NC team set up an exhibit and information booth at the North Carolina Craft Brewers Conference in Winston-Salem. Erin Lawrimore was interviewed by Spectrum News for a piece on the importance of craft beer to North Carolina. You can see that piece <a href="https://www.iqmediacorp.com/ClipPlayer/?ClipID=57dbd48d-9a10-4225-a4bf-ac2d13a65d9c" target="_blank">here</a>.<br />
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There are also a number of upcoming opportunities for folks to learn more about Well Crafted NC through presentations and exhibits.<br />
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On <b>Wednesday, January 23 at 4pm at ZSR Library at Wake Forest University</b>, Erin Lawrimore will discuss the original concept for the project, the continued development of the project through strategic partnerships and grant funding, and new initiatives focused on helping breweries integrate history into their individual and regional marketing efforts. You can learn more on the <a href="https://www.facebook.com/events/369662077201182/" target="_blank">event's Facebook page</a>. This event is free and open to the public. A reception, with an exhibit of materials from Well Crafted NC, will follow.<br />
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On <b>Saturday, January 26 at 7pm at the Beer Growler in Winston-Salem</b>, Richard Cox will join journalist and beer blogger Kat Bodrie for a discussion of the history and future of craft beer in North Carolina. We will also have an exhibit focused on North Carolina beer history. This event is free and open to the public. More details can be found on the <a href="https://www.facebook.com/events/297041184285069/" target="_blank">Facebook event page</a>.<br />
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On <b>Saturday, March 2 at 1pm at Highland Brewing Company in Asheville</b>, Well Crafted NC will have an exhibit focused on the history of women in North Carolina beer as part of the annual Biere de Femme festival, sponsored by Pink Boots Society North Carolina. Biere de Femme is focused on highlighting women in the craft beer industry. 100% of all proceeds go toward scholarships to help women in North Carolina and beyond improve their lives by giving them education and marketable skills in the beer industry. This is a ticketed event, and tickets are currently available <a href="https://www.eventbrite.com/e/biere-de-femme-fest-3rd-annual-benefiting-pink-boots-society-tickets-54307559372?fbclid=IwAR1lZFcggZnU4i513HkkSU1JFoBsl1Lct2xCPqZ1ZBIdLceF-3LyvGoQlhg" target="_blank">here</a>. The event also has a <a href="https://www.facebook.com/events/268620500511517/" target="_blank">Facebook page</a> you can follow for updates (including a list of participating breweries).<br />
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We hope that you'll join us for one (or more) of these upcoming events! You can learn more about Well Crafted NC and keep up with news about other events and activities on our <a href="https://www.facebook.com/wellcraftednc" target="_blank">Facebook</a>, <a href="https://twitter.com/wellcraftednc" target="_blank">Twitter</a>, or <a href="https://www.instagram.com/wellcraftednc/" target="_blank">Instagram</a>.<br />
<br />Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-66088745865694853642018-11-15T08:00:00.000-05:002018-11-15T08:09:49.168-05:00Interning at Special Collections and University Archives<br />
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For the past two months, I have
been an undergraduate intern at the Martha Blakeney Hodges Special Collections
and University Archives (SCUA). During the summer of 2018, I was a soon-to-be
senior in the Arts Administration program at UNCG. I knew I would need to
complete an internship in Arts Administration for my major, so I began looking
into options in the Greensboro area. I had been fascinated by Special Collections, and benefitted from the resources they
provided, since I had been at UNCG. Previous experience in museums had given me
an interest in historic preservation and exhibit curation. As a double major in
Arts Administration and Drama, I was interested in the extensive collections of
theatre materials held by SCUA, which I had gotten a chance to glimpse during a
visit with a Theatre History class.<o:p></o:p><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhXPmx7H1wS921LK-ipxqjXveo0bS-UPygC3W6AqCbdxmLcV0AM6xpJdgepRGY9vJQHGj07m19SrKN8B8AfyPKrXeiFz2YXW8RMMEIM6lZifatwfhbr91UXkU5h-Cz39RcntRVdAYyeE/s1600/IMG_2006.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1200" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEhXPmx7H1wS921LK-ipxqjXveo0bS-UPygC3W6AqCbdxmLcV0AM6xpJdgepRGY9vJQHGj07m19SrKN8B8AfyPKrXeiFz2YXW8RMMEIM6lZifatwfhbr91UXkU5h-Cz39RcntRVdAYyeE/s400/IMG_2006.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Working with the photographs.</td></tr>
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Since SCUA appealed to so many of my areas of
interest within the field of Arts Administration, I decided to reach out via
email to inquire if any internships were available. I was delighted when the
answer was yes, and a little back and forth later, administrators from SCUA met
with me and with my Arts Administration advisor to set the parameters of my
internship. <span style="text-indent: 0.5in;">As per the requirements of the Arts
Administration department, my internship supervisor and I
worked out an internship contract including a time frame, learning goals, and
deliverable projects. It is a semester-long internship that I commit eight
hours a week to. </span></div>
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<br />
Due to my focus on theatre, I was assigned to a collection
donated shortly before I arrived - the Livestock Playhouse and Greensboro
Children’s Theatre Collection. <span style="text-indent: 0.5in;">Working on the Livestock Playhouse
Collection has been a fascinating experience. The collection was donated by
Barbara Britton, a veteran director who headed both theatre programs from 1971
to 2005, and contains materials from productions from the 1970s-2000s. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGO8VeRkzWHVGEs5Nlyr_glnSee8U2icJlqS2qsWMi1pGBVchO4rRM65tJyIb2hshSn5fKE7RwGUn_JWUF9F2oI2OrKzW9wfnSbncxBpmLMKZI6CUyi-jEasJaDJWFz-tGrQ291-IWxuA/s1600/Mame1987.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1468" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGO8VeRkzWHVGEs5Nlyr_glnSee8U2icJlqS2qsWMi1pGBVchO4rRM65tJyIb2hshSn5fKE7RwGUn_JWUF9F2oI2OrKzW9wfnSbncxBpmLMKZI6CUyi-jEasJaDJWFz-tGrQ291-IWxuA/s400/Mame1987.jpg" width="365" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An original, hand-drawn poster for 1987's production of "Mame."</td></tr>
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<span style="text-indent: 0.5in;"></span><span style="text-indent: 0.5in;"><br /></span>
<span style="text-indent: 0.5in;">One
exciting element of this collection is that these materials are in multiple
formats: photographs, hand-rendered sketches for posters, audio reels, slides, and
more. Not all of these materials are ones I have worked with before, so
learning the different ways of handling them has been a great learning experience.
It also gave me a reason to be introduced to other departments within the
library.</span><br />
<span style="text-indent: 0.5in;"><br /></span>
<span style="text-indent: 0.5in;">The collection contains thousands
of photos, presenting difficult storage and preservation challenges, so I visited
Preservation Services to in discuss options for long-term preservation and</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">storage. While at preservation services, we focused on the photographs and scrapbook pages. The scrapbook pages will need the most attention, as the adhesive backing begins to degrade and harm the attached photographs.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tB8bl-FNS1a7zdJJgi9qPfFGVjnAI4idQuzRjKybMyLNdnxxflNM8pQ-8-COfNa9C9Glid2pgv0gRg1AJi-pAmY5bwZdI2FP4vE0-i4g5_Nig-quLC4wTgiqNuyblEVyAKxKbnEYK5s/s1600/WizardTitlePage1971.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1276" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1tB8bl-FNS1a7zdJJgi9qPfFGVjnAI4idQuzRjKybMyLNdnxxflNM8pQ-8-COfNa9C9Glid2pgv0gRg1AJi-pAmY5bwZdI2FP4vE0-i4g5_Nig-quLC4wTgiqNuyblEVyAKxKbnEYK5s/s400/WizardTitlePage1971.jpg" width="317" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Scrapbook page for the earliest production in the collection, "The Wizard of Oz" (1971).</td></tr>
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<span style="text-indent: 0.5in;"><br /></span></div>
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<span style="text-indent: 0.5in;">For help understanding the best
practices and options for dealing with the abundant audiovisual materials, like
audio reels and VHS tapes, I visited the Digital Projects unit, part of the
Electronics Resources and Information Technologies (ERIT) department in the
Library. I loved learning about the work these departments do, and from an Arts Administration</span><span class="MsoCommentReference" style="text-indent: 0.5in;"><span style="font-size: 8.0pt; line-height: 115%;"><span style="mso-special-character: comment;"> </span></span></span><span style="text-indent: 0.5in;">perspective, getting to know how the Library’s
departments are internally organized was invaluable.</span><br />
<br />
<span style="text-indent: 0.5in;">Most of all, though, what I loved
about this collection is seeing how one theatre grew and changed over the
course of three decades, and all the lives it touched. It is an important piece
of Greensboro history to preserve, and I couldn’t be more grateful for the
opportunity to help do so and learn more about my field in the process. The arts go beyond just performances and
exhibitions – the people who preserve the records of art happening, giving us a
continuum to look back on, are part of </span><span style="text-indent: 0.5in;">the equation too. As an Arts
Administrator, seeing the whole picture of everyone and everything keeping the
arts alive is important to me. My time at SCUA has helped me do this and has
made me excited to look more into careers in library science in the future.</span><br />
<span style="text-indent: 0.5in;"><br /></span>
<span style="text-indent: 0.5in;">By Audrey Dubois, UNCG Arts Administration, Spring 2019</span></div>
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<br />Patrick Dollarhttp://www.blogger.com/profile/11837797414230553605noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-80079458950726524712018-11-09T15:02:00.000-05:002018-11-09T15:04:04.856-05:00Then & Now: Photo Restoration and Creative Responses<div class="separator" style="clear: both; text-align: center;">
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</xml><![endif]-->Please take a minute to view the wonderful new exhibit in the cases at the College Avenue Entrance and in the Lobby of Jackson Library! The exhibit is a collaborative effort between Professor Amy Purcell’s ART 344: The Digital Darkroom classes (fall 2017 and 2018) and UNCG’ Special Collection and University Archives.<br />
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Professor Purcell’s art students visited Special Collections for a presentation and a “pop-up” display of vintage cameras and historic photographs. Then, they selected three photographs from the collection and three photographs from their personal resources to study, repair, and restore. With an understanding of the craft of photo restoration, they were asked to use one image as inspiration for a creative work that responded to the restoration process and/or the content of the images.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiusvV1pYgZ1bJomBEGdtcifxvhvHm7Afgx1fuKQFXnJiXqTg8lba9-0-WMqYaCcGTgOqX9U73Ll5Ur6kbw8ykOUkP7e2XRLytwFANonn8ruVR0kpWFa8UDlon-SL5UwmV4AD04tbfnM8zy/s1600/exhibit+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiusvV1pYgZ1bJomBEGdtcifxvhvHm7Afgx1fuKQFXnJiXqTg8lba9-0-WMqYaCcGTgOqX9U73Ll5Ur6kbw8ykOUkP7e2XRLytwFANonn8ruVR0kpWFa8UDlon-SL5UwmV4AD04tbfnM8zy/s400/exhibit+3.jpg" width="400" /></a></div>
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The exhibit cases by the Reference Desk reflect how the role of photography has changed during UNCG’s 125-year history and how their position as students connects them to the university’s past. Several students used photographs from the Dr. Anna Gove Collection. Dr. Gove was the second campus physician and an amateur photographer, who used her camera to document the college, the community of Greensboro, and her time with the Red Cross in France during World War I.<br />
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In one piece, a bombed-out cathedral is modified to include menacing clouds in the background. In a work by Alexis Brunnert, a fragment of a family photograph has been restored and colorized and, in another piece, Maryam Alamoudi changed places with the unknown woman in a tintype from Special Collections. Kaiya Bitner’s grandmother’s walk on a beach offered inspiration to transform her into a flower fairy inspired by the infamous Cottingley fairies, and Johnny Nguyen overlays textile textures and colors as fabrics of today into an image of Duncan McIver with his students (ca. 1895). These works show an amazing range of talent, from digitally “restoring” historic images to adapting photographs in very surprising ways!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrsDdUqSw_HSlePGZVDZZBa7I6hVARAGJGFx5s2Esybszwp3_vxxmVhCcCwEEah7L5bUxoJijhIDiAo4wCYmojSyM62WfJAh5kmz3GoxbEzXMAmzFCyXdzU1cD56qk-98Z1i4gG6HTljG/s1600/Capture+2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="438" data-original-width="548" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIrsDdUqSw_HSlePGZVDZZBa7I6hVARAGJGFx5s2Esybszwp3_vxxmVhCcCwEEah7L5bUxoJijhIDiAo4wCYmojSyM62WfJAh5kmz3GoxbEzXMAmzFCyXdzU1cD56qk-98Z1i4gG6HTljG/s320/Capture+2.JPG" width="320" /></a></div>
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In the large case at the College Avenue entrance, Lean Bishop celebrates
how the diversity of the student population defines UNCG today in her
“I am UNCG” piece. The exhibit case also features an adapted image of
Julia Alexander sitting on the same rock (plus many coats of paint) with
sorority sisters from the 1970’s, as well as a piece by Anthony Carter
that redefines the columns of the library entrance as flames of
knowledge. Especially effective was the incorporation of student Peter
No’s modern truck and car next to the bombed-out cathedral in France
that Anna Gove photographed during the war. In another striking work,
Sarah Tatum visually traces the evolution of the camera. <br />
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Please stop by both cases and see this stunning exhibit!<br />
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<br />Kathelene McCarty Smithhttp://www.blogger.com/profile/01990514024414375162noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-65095904042669960512018-06-29T16:43:00.002-04:002018-07-25T08:22:40.228-04:00Nancy Drew – Girl Detective and Cultural Icon If you have not had a chance to get by the Nancy Drew exhibit in the Jackson Library Lobby – please do so!<br />
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Perhaps more than any other book series, the Nancy Drew mysteries have captured the hearts and imagination of generations of young adults. First published in the 1930s, the books featured the adventures of the independent, plucky daughter of widowed attorney Carson Drew. With her best pals Beth Marvin and George Fayne in tow, Nancy Drew constantly finds herself in the middle of thrilling mysteries which were inevitably solved by the last chapter. The first three books were published in April 1930 and <i>The Secret of the Old Clock</i>, <i>The Hidden Staircase</i>, and <i>The Mystery of Lilac Inn</i> were immediate successes. By the seventh installment, Ned Nickerson is introduced as Nancy’s love interest, often tagging along on her adventures.<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik8QCppyxuDKX4FBtL_Zz4upl-AuE-Rcy5-TKVE95HaND-hazxkgxv-wUCeR3fKcp0nL6ojdztUB1mKG8WloNlyRL45cq9nhI8Hqb0hnmRn0CJc8HYuCulnRzsjU7ztxPwmsVEmFxm4eGt/s1600/Nancy+Drew+Exhibit.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="906" data-original-width="1165" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik8QCppyxuDKX4FBtL_Zz4upl-AuE-Rcy5-TKVE95HaND-hazxkgxv-wUCeR3fKcp0nL6ojdztUB1mKG8WloNlyRL45cq9nhI8Hqb0hnmRn0CJc8HYuCulnRzsjU7ztxPwmsVEmFxm4eGt/s400/Nancy+Drew+Exhibit.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Nancy Drew Exhibit!</td></tr>
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Originally penned by Mildred Benson under the pseudonym of Carolyn Keene, later volumes were ghostwritten by various other authors, keeping a relatively consistent style. Through the many decades of publication, Nancy and her friends saw numerous updates. In the first books, Nancy sported pearls and pumps and drove a “roadster.” By the 2000s, her look was modernized and she drove a hybrid electric car and handily used her cell phone for quick calls and information queries. These updates have been reflected not only in the style of the characters, but also the framework of the books. In 2003, publishers Simon & Schuster concluded the format of the original series and featured her character in the new series, <i>Girl Detective</i>. By 2013, the publishers again changed the format of the books into <i>The Dairies</i>, further updating the character and her adventures.<br />
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The enduring worldwide appeal of Nancy Drew has been a result of engaging plot-lines and characters, as well as the successful marketing of the brand through the decades. Lunch boxes, cookbooks, games, and paper dolls have kept the characters active and relevant. This exhibit reflects the popularity of the Nancy Drew franchise by incorporating books and artifacts from the Martha Blakeney Hodges Special Collections and University Archives!<br />
<br />Kathelene McCarty Smithhttp://www.blogger.com/profile/01990514024414375162noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-76533808632445858222018-06-19T15:54:00.000-04:002018-06-19T15:54:09.179-04:00New LSTA Grant!We're pleased to announce that UNC Greensboro University Libraries was awarded a 2018-2019 Library Services and Technology Act (LSTA) EZ grant. The grant provides $14,416 to support one year of work to research and develop a statewide archival processing service. This service would provide smaller cultural heritage institutions with assistance in arranging and describing their archival collections, thereby providing researchers with greater access to collections often considered “hidden.” University Archivist Erin Lawrimore wrote the successful application and will serve as the grant's principal investigator.<br />
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Through this grant, a steering committee will be formed to explore the most effective ways of providing these services as well as the scope of the future service. Guidelines to be developed through this initial project include an application process and rubric for prioritization of service requests from institutions, best practices for archival arrangement and description completed through the service, and a workflow for ingesting and sharing finding aids from institutions. Additionally, online training modules in archival management will be created to ensure that institutions benefiting from the service will be prepared to manage and provide access to their archival collections after the processing service concludes.<br />
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This grant is made possible by funding from the federal Institute of Museum and
Library Services (IMLS) under the provisions of the Library Services and Technology Act
(LSTA) as administered by the State Library of North Carolina, a division of the
Department of Natural and Cultural Resources (IMLS grant number LS-00-18-0034-18).<br />
<br />Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-71515702571870708312018-05-14T08:40:00.000-04:002018-05-14T08:40:09.813-04:00University Archives and the McIver Building Cornerstone Time CapsuleOn Friday, April 27, 2018, UNC Greensboro broke ground on its new <a href="http://facdc.uncg.edu/nursing" target="_blank">Nursing and Instructional Building</a>. The new 180,000-square-foot facility was made possible thanks to state funds from the Connect NC Bond, which was passed by North Carolina voters in the spring of 2016. The $105 million building is slated to open in the summer of 2020.<br />
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<tr><td class="tr-caption" style="text-align: center;">Chancellor Blackwell sealing the cornerstone, 1959</td></tr>
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The new structure will sit on a site that has held a number of campus buildings over UNCG's 125 years. Most recently, the site was home to the McIver Building, which was demolished earlier this semester. Prior to demolition, a <a href="http://uncghistory.blogspot.com/2015/01/the-cornerstone-time-capsules.html" target="_blank">time capsule that had been placed in the McIver Building's cornerstone on October 5, 1959</a> was removed.<br />
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On Friday, April 20, 2018, the small copper box that served as the time capsule was opened. Sadly, the time capsule contents did not fare well against the ravages of the environment and time. Water damage and mold covered all of the materials, making them unsalvageable.<br />
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Fortunately, because the materials in the time capsule were not unique (most being published materials), the overwhelming majority of these items can be found in University Archives. Many are available for viewing online. Additional items not in University Archives can be accessed through various newspaper databases available to those with a UNCG login.<br />
<br />
You can view the virtual version of the McIver Building Cornerstone Time Capsule <a href="http://library.uncg.edu/info/depts/scua/collections/university_archives/McIver_time_capsule.aspx" target="_blank">here</a>.<br />
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<br />Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-35122669924835262972018-05-07T09:00:00.000-04:002018-05-07T09:09:37.906-04:00Organizing a Choreographed Life<br />
<div style="background: white;">
Jan Van Dyke was one of the most prolific and
well-known faculty members in the UNCG Department of Dance. Van Dyke had a long
history with UNCG, beginning in 1989 when she received a doctorate in education.</div>
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<o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4rXTsbSTVRZLeLJEUNlOwuGGE1eCwKbyv5gKnds1OQgjwNLr_P0l0pz9EXvTAn06XOT-gXjNxSrqy0wIFfLhG1KkMjD9KVByMm61mTMhNq6d_pCM-Z2u0gJgzraR4e1SX8s3n_GbTGQ/s1600/VanDyke_scans+%25283%2529.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1372" data-original-width="1600" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4rXTsbSTVRZLeLJEUNlOwuGGE1eCwKbyv5gKnds1OQgjwNLr_P0l0pz9EXvTAn06XOT-gXjNxSrqy0wIFfLhG1KkMjD9KVByMm61mTMhNq6d_pCM-Z2u0gJgzraR4e1SX8s3n_GbTGQ/s320/VanDyke_scans+%25283%2529.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jan Van Dyke, ca. 1970s.</td></tr>
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Van Dyke donated her personal and professional
papers to the Martha Blakeney Hodges Special Collections and University
Archives in 2014-2015. The papers were processed and made available to the
public in 2017. They afford a unique
glance into a life dedicated to dance. <o:p></o:p></div>
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<br /></div>
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The Jan Van Dyke Papers contain materials related
to Van Dyke's personal life and professional career as a dancer, teacher, and
administrator. The collection contains Van Dyke's choreography, correspondence,
faculty materials, teaching materials, photographs, newspaper clippings, and video
recordings. Van Dyke’s materials reach back to her earliest childhood years in
the 1940s and 1950s – from a child ration book to programs and photographs from
early dance recitals.<o:p></o:p><br />
<br />
You can view the finding aid <a href="http://libapps.uncg.edu/archon/index.php?p=collections/controlcard&id=779">here</a>, which gives a detailed description of the contents of the collection. </div>
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<tr><td class="tr-caption" style="text-align: center;">Van Dyke (right) performing in a dance production, ca. 1950s.</td></tr>
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Van Dyke was born in Washington, D.C., on April 15,
1941, but spent much of her early youth in Germany. From an early age, much of
her energy was spent focused on dance. She attended high school in Virginia,
taking dance lessons at the Washington School of Ballet. <o:p></o:p></div>
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<br /></div>
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Van Dyke earned a bachelor's degree in dance from
the University of Wisconsin in 1963 and a master's degree in dance education
from George Washington University. Van Dyke’s student materials, including an
interesting essay on witchcraft, are included in the collection. <o:p></o:p></div>
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<br /></div>
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Most interesting, perhaps, are Van Dyke’s personal
letters – to family, friends, and romantic interests. In them, Van Dyke lays
out her own personal struggles to break into the dance world in New York City,
the Midwest, and Washington, D.C. She is amazingly frank and forthright in her
letters – expressing her feelings about the difficulties facing women in dance
in the 1970s, her personal challenges, and her intense joy for life.<o:p></o:p></div>
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<br /></div>
<div style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<span style="background-color: white;"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">Van Dyke's life history is documented
in her personal letters and extensive newspaper clippings, photographs, fliers,
programs, and video recordings. A large portion of the materials in her collection are related to various dance groups that Van Dyke
helped form, including the John Gamble/Jan Van Dyke Dance Group, Jan Van Dyke
and Dancers, and the Jan Van Dyke Dance Group. These</span> materials include original choreography, general files, photographs, fliers, programs, video recordings, and other
ephemera.</span><span style="background-color: white;"><o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;">First page of choreography for Van Dyke's "Spike," 1982.</td></tr>
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<div style="background: white;">
While all of Van Dyke’s career is documented, another substantial portion of her collection is comprised of materials related to her
time at UNCG.<o:p></o:p></div>
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<br /></div>
<div style="background: white;">
During her time with the Department of Dance at
UNCG, she taught a variety of courses, including technique, choreography,
repertory, career management, and dance administration. In addition to
teaching, Van Dyke also worked as a producer, administrator, and artist. Her
choreography has been used by a variety of groups, ranging from the Washington
Ballet to students at the Western Australian Academy for the Performing Arts in
Perth.</div>
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<span class="MsoCommentReference"><span style="font-family: "calibri" , sans-serif; font-size: 8.0pt;"><span style="mso-special-character: comment;"><br /></span></span></span></div>
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Her work was supported by multiple outside
agencies, including the National Endowment for the Arts (NEA), the California
Arts Council, and the D.C. Commission on the Arts and the Humanities.<o:p></o:p></div>
<div style="background: white;">
Van Dyke also founded and directed the dance
company Dance Project, which is responsible for the NC Dance Festival, Van Dyke
Dance Group, and School at City Arts.<o:p></o:p><br />
<br /></div>
<div style="background: white;">
Van Dyke received a North Carolina Choreography
Fellowship, and was a 1993 Fulbright Scholar. She has earned numerous accolades
in her field, including: North Carolina Choreography Fellowship, 1993 Fulbright
Scholar, North Carolina Dance Alliance Annual Award 2001, 2008 Dance Teacher
Award for Higher Education from <em>Dance Teacher Magazine</em>, and the
Betty Cone Medal of Arts Award in 2011. UNCG awarded Van Dyke the Gladys Strawn
Bullard Award for leadership and service in 2010.<o:p></o:p></div>
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<br /></div>
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Van Dyke's collection is important for researchers who are interested in studying the history of dance in the United States and North Carolina. Researchers may find Van Dyke's collection particularly interesting if studying the intersection of gender and dance in the 20th century. Van Dyke's own research, writing, and choreography often dealt with gender and dance, so the materials in her collection reflect her interest.</div>
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<br /></div>
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Finally, Van Dyke was a large part of the history of UNCG. Researchers who want to track the changes in dance studies at the University will certainly encounter names that are peppered throughout the collection - Van Dyke, Gamble, Stinson, and more. Van Dyke's collection is unique because it documents her time at UNCG -- as a student, adjunct professor, full professor, and department head. </div>
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Van Dyke passed away after a lengthy battle with cancer in July 2015.</div>
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<br />Patrick Dollarhttp://www.blogger.com/profile/11837797414230553605noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-12929366562374847482018-05-01T13:08:00.000-04:002018-05-01T13:08:55.495-04:00A Well Crafted NC UpdateAfter a <a href="https://wellcraftednc.tumblr.com/post/173001150998/launch-event-recap">very successful launch event</a> on April 14th at Little Brother Brewing in Downtown Greensboro, the <a href="http://wellcraftednc.com/">Well Crafted NC</a> project continues to grow. The project, which began in Fall 2017 thanks to a University Libraries Innovation and Enrichment Grant, will be expanding its documentation scope to cover the craft beer and brewing industry across North Carolina. Between 2010 and 2017, North Carolina saw the number of independent craft breweries in the state skyrocket by 445% (from 45 in 2010 to 245 in 2017). In 2016, the craft beer industry had a $2.042 billion impact on the economy (ranked 10th in the country). During this new phase of growth, Well Crafted NC will focus on collecting more oral history interviews with brewers and brewery owners in our state. The project will also continue collecting and digitizing historical records from North Carolina breweries.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7D3s3B0K9xGieJgIkEH06m1LUPKSWIki4ISuroz_SU09V1sgH94Ku1U-2kJVEwxQCWGertyoB6Bw5r-FEsc2mKvo7svRnU4px1ylgbkpVklf4Nvhjfr5wanZNFTUv7gR8jF95T4Cy3aM/s1600/tumblr_inline_p7ai4le62p1v2y7kj_500.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="667" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7D3s3B0K9xGieJgIkEH06m1LUPKSWIki4ISuroz_SU09V1sgH94Ku1U-2kJVEwxQCWGertyoB6Bw5r-FEsc2mKvo7svRnU4px1ylgbkpVklf4Nvhjfr5wanZNFTUv7gR8jF95T4Cy3aM/s320/tumblr_inline_p7ai4le62p1v2y7kj_500.jpg" width="239" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An image from the Well Crafted NC launch event</td></tr>
</tbody></table>
Additionally, one the project leaders - University Archivist Erin Lawrimore - recently received a Faculty First Summer Scholarship Support Award from UNC Greensboro's Office of Research and Engagement. This award will support a series of oral history interviews with women brewers and brewery owners in North Carolina. This project will ensure that the voices of the women in the industry are heard, that their stories are recorded in their own words, and that they are included as a vital piece of the history of beer and brewing in our state.<br />
<br />
The Well Crafted NC team has expanded the project's outreach and educational components as well. In addition to the launch event, Well Crafted NC did pop up exhibits at the Biere de Femme festival as well as at the Greensboro Chamber of Commerce's April Coffee and Conversation event. They will also be doing an exhibit on June 2nd at the Beer City Festival in Asheville. The project leaders recently were interviewed on the local podcast <a href="https://soundcloud.com/gcchatter/gate-city-chatter-ep-6-beer-history-with-well-crafted-nc" target="_blank">Gate City Chatter</a>. <a href="http://myfox8.com/2018/03/21/greensboro-has-rich-history-of-brewing/" target="_blank">Fox 8 News</a> also did a feature piece on the project and the history of beer and brewing in Downtown Greensboro. Other coverage includes a front-page article in the <a href="https://newsandfeatures.uncg.edu/well-crafted-nc-launch-event/" target="_blank">Greensboro News & Record</a> as well as articles in <a href="http://www.journalnow.com/winstonsalemmonthly/crafting-history-two-historic-w-s-breweries/article_0913170a-3797-11e8-948a-0b7950d5b6ce.html" target="_blank">Winston-Salem Monthly</a>, <a href="http://www.greensboro.com/1808greensboro/food_drink/history-of-brewing-in-the-boro/article_c9142377-e769-5136-a636-0dee1eb09cc5.html" target="_blank">Greensboro 1808</a>, and <a href="https://wncwoman.com/issues/" target="_blank">Western North Carolina Woman</a> magazine.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8o1v5unamYBXFHhYlj6VvAYz0UZC8_BfA8ENDkIpfQI_bj7H_fcR1fIWvoeVC2bRVxMc8QSz_kahTynwAbx9OgWi4NoOJm6GADSH55wHolC6cAtTC2dfdCNxVfoGq4dnRndKYB96hl6Q/s1600/Promotional_photograph_taken_at_Natty_Greenes_Brewpub.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8o1v5unamYBXFHhYlj6VvAYz0UZC8_BfA8ENDkIpfQI_bj7H_fcR1fIWvoeVC2bRVxMc8QSz_kahTynwAbx9OgWi4NoOJm6GADSH55wHolC6cAtTC2dfdCNxVfoGq4dnRndKYB96hl6Q/s320/Promotional_photograph_taken_at_Natty_Greenes_Brewpub.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A promotional photo from Natty Greene's, <br />
from the Well Crafted NC collection</td></tr>
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<br />
Well Crafted NC is a project of the UNC Greensboro University Libraries. The project coordinators are Richard Cox (Digital Technology Consultant, ERIT), David Gwynn (Digital Projects Coordinator, ERIT), and Erin Lawrimore (University Archivist, SCUA). To keep informed about the new developments with the project, you can follow Well Crafted on <a href="http://www.facebook.com/wellcraftednc" target="_blank">Facebook</a>, <a href="http://www.twitter.com/wellcraftednc" target="_blank">Twitter</a>, or <a href="http://www.instagram.com/wellcraftednc" target="_blank">Instagram</a>. To learn how you can support the growth of the Well Crafted NC project, please see <a href="https://t.umblr.com/redirect?z=http%3A%2F%2Fwellcraftednc.com%2Fsupport&t=MTE4NmJjMGYzNzk0NGZlYWE2ZmY1ODMxNGUwMDdmM2M2YWNlNTRlMSxnamhIUnZLWQ%3D%3D&b=t%3Ak_sf8paSvnEGu8pfL6ZNmg&p=https%3A%2F%2Fwellcraftednc.tumblr.com%2Fpost%2F173483391178%2Fdocumenting-women-in-the-nc-beer-industry&m=1">www.wellcraftednc.com/support</a>. <br />
<br />Erin Lawrimorehttp://www.blogger.com/profile/08498393988180431169noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-24995288368737912662018-04-26T15:24:00.002-04:002018-04-26T15:24:31.812-04:00A MLIS Graduate Student’s Perspective: Interning with UNCG’s Special Collection and University ArchivesDuring my final semester in the Masters of Library and Information Studies (MLIS) program at UNCG, I chose to do my practicum with the Special Collections and University Archives (SCUA). My educational background is in humanities (especially art and philosophy), so I already had a love for history, cultural heritage, manuscripts, and so forth. I was also impressed and curious after hearing a number of SCUA staff give presentations and talks to some of my classes. Kathelene McCarty Smith (Instruction and Outreach Archivist and SCUA practicum supervisor) greatly helped me - through class presentations and personal meetings - to recognize my passion and calling to do archival/special collections work. The SCUA team at UNCG has been very successful in promoting and implementing instructional outreach. This is done through a creative combination of interactive lessons (instruction in primary source, information, and digital literacies), exhibits, blogs, and social media posts, among other methods.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEituulDyDMYrE7Y3o8iRA394qMhmEFarxvRqSrLPPjK1DNXrrnA1Wj6xAQRvEqTDqhyvQBBOQH7Pi4tN4S0a2Ij-22qZdbz4yhYGL5ZdtH-h_ZtvkCubokvgzRLiWrz0wrVQg1Gfp4npYcH/s1600/Capture.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="277" data-original-width="306" height="289" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEituulDyDMYrE7Y3o8iRA394qMhmEFarxvRqSrLPPjK1DNXrrnA1Wj6xAQRvEqTDqhyvQBBOQH7Pi4tN4S0a2Ij-22qZdbz4yhYGL5ZdtH-h_ZtvkCubokvgzRLiWrz0wrVQg1Gfp4npYcH/s320/Capture.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The exhibit required me to conduct archival research<br />with primary sources (photographs, textual documents, artifacts),<br />as well as digital materials (digitized facsimiles and born-digital files)</td></tr>
</tbody></table>
<br />After meeting with my LIS and SCUA supervisors, we decided upon an exhibit project which would both meet my learning objectives (in research, instruction, and outreach) and fit into the semester’s time frame. The project involved highlighting the history of library education at UNCG; the pop-up exhibit itself was showcased for the occasion of the LIS department’s re-accreditation at the end of March. The practicum required 120 hours of work experience for the semester. Generally, my time was divided into research, digitization, selection of materials, and constructing, arranging, and displaying the exhibit. My practicum also included chronicling the exhibit’s preparation processes. Thankfully, my efforts were able to add upon and pull from the in-depth research already conducted by Professor James V. Carmichael Jr.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzxNEJaM6Ai_oMV5lfsTZEqLx27B4v9YaQBCrs8VzfAVEKCMj45FbR2P2vbqyQ9v1VNRFDBUrhZYLCLSKtNcGfoyvvEzUXAbbJMXAvMnwNNxxSayZE6Ttbt_RrhQ1G5LcRWG0H_cRRl5v2/s1600/Capture+1.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="403" data-original-width="303" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzxNEJaM6Ai_oMV5lfsTZEqLx27B4v9YaQBCrs8VzfAVEKCMj45FbR2P2vbqyQ9v1VNRFDBUrhZYLCLSKtNcGfoyvvEzUXAbbJMXAvMnwNNxxSayZE6Ttbt_RrhQ1G5LcRWG0H_cRRl5v2/s400/Capture+1.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A curated exhibit is a perfect example of outreach fused with instruction.<br />It is outreach because of the aesthetic advocacy of collections and services, and it<br />is instruction through conveying narrative (interpretation) and description (metadata).<br /></td></tr>
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<br />Of course, there are highlights to share from my learning experiences. First, archival research is both satisfying and exciting; it requires an investigative and nuanced mode of inquiry into both primary sources (photographs, textual documents, artifacts), as well as digital materials (digitized facsimiles and born-digital files). The finding aid for the LIS Department Records guided much of my research and led me from concepts and collection descriptions to the access of the actual sources and items. Second, there is creativity in archival instruction and outreach (including curation); it requires an improvisational touch because of variable audiences, timelines, resources, and space limitations. There is also an aesthetic component as the arrangement and display of an exhibit contributes to the narrative in a visual and tactile way. Third, as archivists select, arrange, and narrate their research, they become influential storytellers. Fourth, refining my archival-library writing skills has been vital; it has required my documentation and description to be clear, succinct, and functional (in communicating relevant information and the significance of collections and services).<br /><br />My SCUA experience has given the confidence and perspectives necessary to continue learning and growing into the profession! In the future, I am looking forward to performing reference services, creating finding aids, conducting and transcribing oral history interviews, and planning literacy lessons.<br /><br />Anthony Arcangeli - UNCG SCUA/LIS - Spring 2018<br /><br /><br /><br />
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<br />Kathelene McCarty Smithhttp://www.blogger.com/profile/01990514024414375162noreply@blogger.com0tag:blogger.com,1999:blog-6690103590898426629.post-39421254660024777732018-03-26T16:44:00.000-04:002018-03-26T16:48:26.770-04:00UNCG-LIS Alternative Spring Break Students Work with Garden Club Scrapbooks<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "times new roman" , serif; font-size: 12.0pt;">Over spring break week,
UNCG’s Martha Blakeney Hodges Special Collections and University Archives
(SCUA) hosted three Library and Information Studies (LIS) graduate students for Alternative Spring Break. Jo Klein, Melissa Capozio, and Anthony Arcangeli spent the week working with scrapbooks contained within the newly
acquired Greensboro Council of Garden Clubs Records. </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Two scrapbooks from the Greensboro Council of Garden Clubs.</td></tr>
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<span style="color: black; font-family: "times new roman" , serif; font-size: 12.0pt;">The students surveyed and inventoried the large collection of scrapbooks within the
Council’s records. There are approximately 120 scrapbooks in the collection
dating back to 1930, and each one contains photographs, newspaper clippings,
handwritten correspondence, and ephemera. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">L to R: Anthony Arcangeli and Melissa Capozio recording information on the scrapbooks.</td></tr>
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<span style="color: black; font-family: "times new roman" , serif; font-size: 12.0pt;">The interns’ work on the
collection included documenting the name and date of the scrapbooks, assessing conditions of the
items contained within the scrapbooks, reorganizing the boxes, and collecting
contextual information for use in a collection finding aid. </span><br />
<br />
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<tr><td class="tr-caption" style="text-align: center;">L to R: Jo Klein and Melissa Capozio working with the scrapbooks.</td></tr>
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<span style="color: black; font-family: "times new roman" , serif; font-size: 12.0pt;">First, the interns
worked to assess the condition of each scrapbook as a form of pre-processing
for the collection. This included creating a description, and recording
dimensions, content, and time period for each scrapbook. Interns
also noted any factors that would need to be addressed during the preservation
process, such as metal paper clips and staples or rapidly deteriorating items. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Students taking measurements of the scrapbooks.</td></tr>
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<span style="color: black; font-family: "times new roman" , serif; font-size: 12.0pt;">After taking inventory
of the collection, the scrapbooks were then reorganized into a more
researcher-friendly format, and reboxed based on common attributes, such as
time period covered and which garden club created the scrapbook. </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: "times new roman" , serif; font-size: 12.0pt;">Once reorganized, the
interns went through each scrapbook and collected any notable data that might
be used in the creation of a finding aid, such as the garden club presidents,
the time periods the clubs were active, and major events and dates. </span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></div>
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<span style="color: black; font-family: "times new roman" , serif; font-size: 12.0pt;">According to Jennifer
Motszko, Manuscripts Archivist and the spring break project coordinator, the
interns’ work saved Special Collections staff about two months of processing
time, ensuring that the materials will be prepped for access and research far
sooner than initially planned. </span></div>
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<br /></div>
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<span style="color: black; font-family: "times new roman" , serif; font-size: 12.0pt;">With this initial
processing complete, Special Collections staff can begin work on a finding aid
for the collection, and the materials will be available for research once full
processing is complete. </span></div>
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</xml><![endif]--><!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
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mso-para-margin-top:0in;
mso-para-margin-right:0in;
mso-para-margin-bottom:8.0pt;
mso-para-margin-left:0in;
line-height:107%;
mso-pagination:widow-orphan;
font-size:11.0pt;
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mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
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mso-bidi-theme-font:minor-bidi;}
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<![endif]-->Patrick Dollarhttp://www.blogger.com/profile/11837797414230553605noreply@blogger.com0