All posts by mlp60@duke.edu

Into the Fields and into the Archives: Student Action with Farmworkers

Post contributed by Paula Jeannet, Visual Materials Processing Archivist at the Rubenstein Library

Did you know that October is American Archives Month?  During this time archivists and their allies take to social media and other outlets to raise public awareness about the importance of preserving the historical record.  This year’s theme in North Carolina is “Activism and Social Justice in North Carolina.”  To honor that theme, this post highlights an inspiring N.C. activist organization whose records are in the David M. Rubenstein Rare Book & Manuscript Library.

Officially founded in 1992 in Durham, N.C., Student Action with Farmworkers (SAF) has brought college and high school students and farmworkers together to collectively work for economic justice, consumer awareness, and improved living and working conditions for people who grow and harvest our food.

20th Anniversary Poster

The long arc of SAF’s activist work, which began in the 1970s, is well-represented in their archives in the Rubenstein library.  The collection’s 148 boxes house materials documenting SAF’s founding, its operations, meetings, and planning, and records on every program from inception to launch.  There are many photographs, audio, video, and, with the arrival of the 2000s, digital records.

A flier and worksheet
These educational fliers and worksheets are found in Box 145 of the Printed Materials Series.

College-age interns, many of them from farmworker families, travel to isolated rural migrant camps to document living conditions through photography, oral histories, and writing.  Thousands of SAF student alumni have also gone out into the world to join and found other social justice programs and organizations.

Migrant camp at night
NC migrant camp at night during health outreach. Photo by Jim Coleman, 2010. From “Theater in the Fields” SAF publication.
Quinceañera photo
Cover of “Recollections of Home / Recuerdos de mi tierra: A Compilation of Folklife Documentaries by Student Action with Farmworkers’ Interns,” 2000. Photo by Rachel LaCour, 1999: Latino teenagers at a quinceañera.
Table of contents
Table of contents from “Recollections of Home / Recuerdos de mi tierra.”
Printed page with photograph of women protesting
Page from “Fields Without Borders / Campos sin fronteras”: Women’s stories, often overlooked, are told through photographs as well as oral histories, preserved in this publication in the Printed Materials and in the Audiovisual series of the SAF collection. Photo by Chris Sims, 2004.

Student projects such as this 2011 video documentary created by three students are housed in the SAF collection at the Rubenstein (student project folders require permission for access).  Through Story+, a summer research internship sponsored by Duke University libraries and the John Hope Franklin Humanities Institute, students have created several other SAF video documentaries.

An integral part of SAF’s work is educational programming and outreach for children, teens, and adults.  In 2014, SAF’s Levante Leadership program was recognized as one of the most effective programs in the nation that improves educational outcomes for Latino students.

Photo of leadership program participants

SAF also organized and participated in protest actions, including the Mount Olive Pickle Company and Burger King labor protests. These actions directly led to improved conditions in the factories and fields.

Black and white SAF protest drawing

Did you know that many farmworkers are forced to live next to fields sprayed with pesticides?  SAF has mounted successful long-term campaigns on specific issues such as pesticide safety that include outreach tools such as this video for children called “José Learns About Pesticides.”

Theater in the Fields brings a powerful message and educational opportunities to the fields where agricultural workers toil.  The giant puppet “Big Papa” is also found in the SAF archives!  The puppet was created by NC sculpture artist Daniel L. Mathewson (1964-2011) for the play “Gigantes en los Campos/Giants in the Fields,” written by NC writer Cara Page. The Big Papa character had few lines, but loomed ominously over scenes in the play as a method of intimidation and mockery of the farmworker characters.

Photo of actors
This publication is found in the Printed Materials series of the Student Action with Farmworker’s collection, along with the other materials featured in this blog post.
Actors mid-scene
Actors in Teatro en el Campo

The mobilization of students and farmworkers originally begun at Duke in the 1970s was in part inspired by a 1960 documentary by N.C. journalist Edward Murrow, “Harvest of Shame.”  Today, the same labor, health, and social justice issues continue to plague the U.S. agriculture system, so Student Action with Farmworkers continues its work to improve conditions and to make their vision a reality, that “One day, all farmworkers will have dignity in their work and livelihood.”

During this Archives Month, we salute those who give so much of their energies to justice, and to those who recognize the importance of keeping this history alive in collective memory by placing their records in an archive.

The records of the Student Action with Farmworkers organization span the entirety of their history, and are available at the Rubenstein Library.  Learn more by visiting the online collection guide

To learn more about SAF, view this video.  There are more videos on this site, many using archival resources from the collection to tell the farmworkers’ stories. Also, check out their 25th anniversary “More Than One Story” exhibit and web site.

 

 

 

Radio Haiti on YouTube? An Archive in the World

Post contributed by Craig Breaden, Audiovisual Archivist

Radio Haiti on YouTube? Now there’s an idea…. When the Radio Haiti team at the Rubenstein Library embarked on a pilot project to see how the collection would perform on YouTube and the Internet Archive, we imagined it would be a fairly straightforward process, and that it was a natural fit.  The idea for the pilot, funded as part of an NEH grant, came from discussions around how to effectively re-broadcast the archive.  “Take the archive to its listeners,” was a rallying cry, “to Haitians in Haiti!”  This approach captured the spirit of Radio Haiti, whose tireless advocacy for democracy in Haiti was brought to a halt only by assassinations and death threats carried out under an umbrella of impunity.  With our pilot now complete, we are left with some expectations unfulfilled, some questions still unresolved.  But even so, we learned a lot about the process, while enjoying one unqualified success.

If research libraries are square pegs, YouTube is the round hole.  Librarians and archivists love metadata, YouTube loves “views.”  Researchers and users love a good search tool, YouTube loves to put your eyes on ads.  The differences between the missions of an ad-supported social media platform and a dot-EDU library have the potential to obscure the common goal of content delivery.  We knew using YouTube, if not exactly a deal with a devil, demanded compromise and creative thinking.  The first challenge was finding workflows that we could apply to the entire archive, including batch conversion of audio to video and bulk uploading of content and metadata.  It was with the metadata where we started running into trouble.  With paltry character limits on titles, descriptions, and keywords, YouTube left us scratching our head (when video is clearly the data hog, how does text get such short shrift?) and scrambling for a solution to provide adequate description for the recordings.  The situation seemed especially acute because our Radio Haiti metadata is trilingual (English, Haitian Creole, French), and takes a lot of text space to accommodate our anticipated user populations.  Ultimately we built in a default: every description that exceeded the 5000-character limit had an ellipsis added to the end along with a link to the Duke Digital Repository (DDR) page for that recording, so that, on YouTube, we still depended on the Library resource for full description.

View the YouTube pilot here: https://www.youtube.com/channel/UCLUqSmRQNALyrAMYxV44JOQ/videos

The Internet Archive, as its name might suggest, was far more accommodating, offering robust metadata fields without the ads or YouTube’s relentless “Up Next” pushiness.  It has the spirit and ethic of our great public libraries, with a dedication to the public weal.  Radio Haiti would be far from its first radio archive, and its mission, like any real archive’s, is long-term preservation.  There were only two downsides to the Internet Archive platform, and the first one it shared with YouTube:  There was no way to group related recordings (for example, multipart programs) via a relator metadata field in the upload spreadsheet.  That work would have to be done “manually,” in the description field, which might not be a big deal if there were 100 or so recordings, but the Radio Haiti Archive has 5,308 audio files.  Needless to say, the relationships between files that our DDR could make would not be replicated on these platforms.  The second, more obvious downside, is that for all its virtues the Internet Archive just doesn’t have the audiences that YouTube, media titan, boasts.

View the Internet Archive Pilot here: https://archive.org/details/radiohaiti

And that one unqualified, and unexpected, success? Our team of developers, driven by this pilot project to compress the digital footprint of Duke Digital Repository pages, thus decreasing load times in areas with limited digital infrastructure, made successful modifications repository-wide to the DDR. Data transfer required for a first-time visit was cut to as much as one sixth of the original size, meaning users’ browsers could render the site much faster and, in Haiti, where mobile data transfer is limited by plans that are typically purchased daily, more cheaply. So, while allowing faster load times in Haiti for our re-broadcasting of the Radio Haiti Archive, they also made the DDR as a whole more efficient.  For me, this is a great example of a specific need driving innovation. The Radio Haiti project improved the delivery of Duke University Libraries’ digital resources while also providing the opportunity for our team to see both the trees and the forest in our work.

The processing of the Radio Haiti Archive and the Radio Haiti Archive digital collection were made possible through grants from the National Endowment for the Humanities.

Radio Haiti and NEH logos

Emancipation from the Cook Stove and Getting Boys into the Kitchen: Early 20th Century Cookbooks

Post contributed by Stephanie Fell, Rare Materials Project Cataloger

When the Lisa Unger Baskin Collection was packed and shipped to Duke in early 2015, many of the materials were boxed thematically. Therefore, as we have been cataloging the collection, the materials tend to come in waves of various themes and subject matter. Lately a number of cookbooks and monographs relating to domestic arts have been coming across my desk. Some have been traditional cookbooks and domestic arts manuals, offering recipes, menus, and nutrition information, as well as advice to the home maker, from cooking, cleaning, and child care tips to household budgeting and how to decorate the home. I wanted to point out a couple of items in particular that caught my attention.

Red cover with gold. A woman kneels in front of a cook stove.
An example of the typical publisher’s binding cookbook from the Lisa Unger Baskin Collection

These particular books, at first glance, are traditional cookbooks or domestic arts manuals for women to help them maintain a healthy and happy home through cooking and good housekeeping. Looking more closely, however, they contain a subversive message that rejects traditional gender roles and encourages the reader to emancipate herself from the kitchen.

Book opening to an illustration of a man and woman standing in the kitchen
Foods and home making by Carlotta C. Greer

Foods and Home Making by Carlotta C. Greer, published in 1938, was intended to be used by teachers to train boys and girls to do household tasks better. This text looks typical of the genre and time period; it includes “many suggestions and devices to stimulate pupils to participate in home activities and to do their share in making their homes attractive and happy” (page iii-iv). Upon closer examination, the “To the teacher” note includes the following advice: “Much of the material of Foods and Home Making is suitable for boys as well as girls. Knowledge of food selection is necessary for boys. Stimulation of boys’ interest in home making contributes to their appreciation of home life” (page v). The author encourages the reader to get her sons involved (and appreciate!) the work involved with sustaining and maintaining a household.

Another noteworthy feature of the Rubenstein Library’s copy is that it contains manuscript annotations indicating the owner was using the volume to prepare for an exam. Part of my work as a rare materials cataloger is to include provenance-related information such as this in the library’s catalog record in copy-specific notes. This kind of information about the book is important to include in the bibliographic record, because it shows not only how a former owner used the item, but also helps to differentiate this copy from copies at other institutions.

Book page with notes written in pencil
Manuscript annotations show a former owner’s use of the item.

Another volume I cataloged recently is Uncooked Foods & How to Use Them by Mrs. & Mrs. Eugene Christian. Published in 1904, it is dedicated to “the women of America on whom depend the future greatness of our glorious country”. This unassuming volume includes more than just recipes and housekeeping advice. Scrolling through the table of contents, the reader will find that chapter 8 is entitled “Emancipation of Woman”. The authors advocate a raw food diet — one reason for this being simplicity: “There is nothing more complicated–more laborious and more nerve-destroying, than the preparation of the alleged good dinner. There is nothing simpler, easier and more entertaining than the preparation of an uncooked dinner” (page [39]). The authors argue that eating raw foods is healthier and will “emancipate [the reader] from the slavery of the kitchen and the cook stove” (page [49]). They continue, “… the use of uncooked or natural foods will surely bring relief and freedom” (page 52). Mr. and Mrs. Christian were admittedly ahead of their time in more than one regard.

Title page of Uncooked Foods
Uncooked Foods & How to Use Them by Mr. & Mrs. Eugene Christian

As I’m cataloging the Lisa Unger Baskin Collection, which documents the work of women over the last 500 years, I’m not just describing the materials bibliographically, but I’m also trying to provide relevant access points and descriptive information for researchers. In addition to these items, the Rubenstein Library holds many other volumes related to cooking and domestic life. One can find other examples of domestic arts advice for women both inside and outside of this collection through Duke University Library’s online catalog. A genre term search for “Cookbooks” will return many items in that category and a keyword search for “prescriptive literature” may yield broader results.

Documenting Radio Haïti-Inter’s Time in Exile (1981-1986) Using Lè Ayisyen’s Archive

Post contributed by Ayanna Legros Doctoral Student in the History Department at Duke

In New York City, Radio Haïti-Inter staff joined musicians, writers, professionals, and other Haitian exiles who had fled the Duvalier regime (1957-1986). Barbershops, cafés, bookstores, churches and street corners became stages for Haitians to passionately debate politics and the future of the nation. While newspapers such as Haïti Observateur, Haïti Tribune, Haïti Progrès, and Sèl circulated around the Upper West Side of Manhattan, offering exiles room to present opinions, radio provided members of the Haitian community a sonic space to grapple with the realities of their homeland while also discussing strategies for combatting racism, xenophobia, sexism, classism, and the linguistic privileging of the French language over Kreyòl. Kreyòl – the national language of Haitians – connected exiles across differing class and educational statuses. While some radio programs operated with licensing, others bypassed state and institutional regulation to avoid surveillance and penalization for usage of airwaves.

One radio station that rose to prominence was Lè Ayisyen, a Haitian Creole radio show run out of Columbia University between 1969 – 2002. Like Radio Haïti Inter, Lè Ayisyen staffers and volunteers understood that Haiti’s issues had to be interconnected with the democratic struggles of Central American, Caribbean, Latin American, and African nations. Conflict in nations ranging from Nicaragua to Eritrea were documented and shared with the community. The founder of the program, Lionel Legros, stated during an oral history interview that he wanted listeners to understand “The United States was not going to save Haiti.”[2] In other words, Haitians should to be cautious of U.S. involvement in the region – Haitian exiles were aware that Cold War politics dictated the U.S.’ rapport with its Caribbean neighbor.

In November 1981, one year after living in New York in exile, Jean Dominique participated in an interview with Daniel Huttinot on Lè Ayisyen. Huttinot asked Dominique about his silence, the state of Haiti, and his perception of democratic movements. Dominique replied with messages of hope in the diaspora while also expressing frustration in lacking his own station. After two years, Jean Dominique came back on the air, on a program called Radio Haiti in New York (Radyo Ayiti nan Nouyòk) on WNYE 91.5FM. a non-commercial independent radio station licensed through City University of New York (CUNY). Co-hosted by Jean Dominique and Anthony Pascal (aka Konpè Filo), the program surveyed issues impacting the everyday lives of Haitians in the early 1980s such as immigration, HIV/AIDS stigma, and the murder of Firmin Joseph, founder of the weekly newspaper Tribune d’Haïti.

Document about the Duvalier regime and repression of Haitian journlalists
Source: Radio Haïti Archives
Duke University

Daniel Huttinot many years later recalls the impact of Lè Ayisyen on the Haitian community in New York stating that they had “loyal listeners” for years and would regularly host Haitian exiles on their program seeking to share about their experiences back home.[3] Further discussion about the collection with researcher Jennifer Garcon, PhD, as well as Radio Haïti-Inter archivist, Laura Wagner, PhD, demonstrate the force of radio within the Caribbean and the diaspora. Laura and I for several Saturdays went through the Lè Ayisyen collection and unbeknownst to us discovered many Radio Haïti in New York cassettes, adding to the robust collection already housed at Duke. These cassettes offer valuable information about Reagan’s policies in Central American and the Caribbean countries and the enormous contributions of exile voices to the ousting of Jean-Claude Duvalier 7 February 1986.

Cassette tapes
Some recovered Radio Haïti New York tapes found in L’Heure Haïtienne’s Collection
Labeled: Jan ak Filo (Jean and Filo) or Radio Haïti Nan Nouyòk (Radio Haïti in New York)

Radio Haïti in New York tapes will soon be digitized and made available. The vast majority of Lè Ayisyen’s collection remains independent and unprocessed. Both collections will offer researchers access to an important chapter in New York City Haitian migration history. Bridging the Lè Ayisyen archive with Radio Haïti Inter’s fills an important gap in the Radio Haïti Archive. Values such as tèt ansanm (heads together) and collaborative working practices in archival preservation and academic work are continued necessities particularly in the rapidly paced digital age in which data collection and digitization present libraries and researchers a new set of challenges.[4] The practice of tèt ansanm by historians, archivists, and data collectors will continue to be necessary in order to create solutions for the impending challenges of the digital age.

Patrick Elie, Lionel Legros, Jean Dominique
Patrick Elie, Lionel Legros, Jean Dominique ((Jean Dominique’s second exile in the 1990’s)
New York City

 

 

[1] Demme, Jonathan, director. The Agronomist. 2003.

[2] Legros, Lionel, phone interview, April 20, 2019

[3] Huttinot, Daniel, interview, August 2, 2017

[4] Lara Putnam, The Transnational and the Text-Searchable: Digitized Sources and the Shadows They Cast, The American Historical Review, Volume 121, Issue 2, April 2016, Pages 377–402, https://doi-org.proxy.lib.duke.edu/10.1093/ahr/121.2.377

11 of My Favorite Haitian Creole Expressions from the Radio Haiti Archive

Post contributed by Laura Wagner, Ph.D., Radio Haiti Project Archivist

Processing the archive of Radio Haïti-Inter can be difficult work. The collection is filled with human rights violations, suffering, injustice, and death — including both the repression that the station’s journalists covered and the repression they personally endured. Yet despite the heaviness of the subject matter, listening to Radio Haiti is often joyful. Jean Dominique is the single most expressive person I have ever had the privilege of spending time with. (He was, in the words of his friend Jonathan Demme, “an absolute theater superstar waiting to happen.”)  In French, he’d quote Henri de Montherlant and La Rochefoucauld. In Haitian Creole, he’d draw on the language’s evocative proverbs and expressions. Creole is a language of poetry and double meanings, of metaphor and dissembling, of mawonaj.

As I head into my last week on the Radio Haiti project, I wanted to emphasize a lighter side of the project and share some wonderful Haitian Creole phrases. I’ve also learned some fantastic French terms over the course of this project (like scélérat – a villain! often paired with mediocre, because to Jean Dominique, mediocre was one of the worst things a person could be. Or histrion, a buffoon; scribouillard, a penpusher; or crêpage de chignons, a catfight!). But, as I said, in this list I’m going to concentrate on the Creole expressions that I’ve picked up along the way, not only from Jean Dominique, but also from Michèle Montas, J.J. Dominique, Konpè Filo, and other members of the Radio Haiti team, as well as some of the people they interviewed.

    1. Sòt pa touye w, men li fè w swè – Literally, stupidity won’t kill you, but it’ll make you sweat. My personal mantra every time I made a mistake while processing the Radio Haiti collection. It’s pretty much what it sounds like: stupidity isn’t fatal, but it creates a lot more work for you.
    2. Sezi kou berejèn – Very surprised; literally, surprised as an eggplant. I have no idea why.
    3. Depi djab te kaporal – Literally, “ever since the Devil was a corporal.” Figuratively, since the beginning of time. I’m told that’s because the Devil has been a general for a long time, so if he was a low-ranking officer, that must have been a very long time ago.
    4. Mare sòsis – Literally, to tie your sausage together with someone else’s. Figuratively, to be in cahoots with someone.
    5. M a di w sa Kasayòl te di bèf la – Literally, “I’m going to tell you what Cassagnol told the cow.” When you want to curse someone out without doing it directly. No one knows who Cassagnol was, or what he told the cow, but we can only imagine that it was very bad indeed.
    6. Pitit trannde dan – Literally, “a child with thirty-two teeth.” In a report from 1979 by Konpè Filo, sex workers from Port-au-Prince explained that they referred to their pimps as “children with thirty-two teeth” because they were all grown up but still depended on women for everything.
    7. Benyen san kache lonbrit – Literally, bathing without hiding your belly button. Letting it all hang out, not having any secrets.
    8. Panzou – Traditionally, a children’s game in which you slap someone’s hand, often to make them drop something. Panzou came to mean coup d’état, referring to the way the army seized power from Haiti’s democratically-elected government in 1991. The perpetrators of the coup, accordingly, were panzouyis (panzouists).
    9. Mete absè sou klou – Literally, putting an abcess on top of a boil. Figuratively, making a bad situation worse.
    10. Nou se lanmè, nou pa kenbe kras – A proverb, and of Radio Haiti’s slogans. Literally “We are like the sea, we wash away the dirt.” It means “we reveal the truth, we don’t keep secrets.”
    11. Nou pa manje lajan Chango, nou pa manje manje bliye – Literally, “we don’t consume Chango’s money, we don’t eat the food of forgetfulness.” Figuratively, “we’re not taking part in corruption and we never forget.” Chango is a Vodou lwa known for his anger. If you take Chango’s money, you have to be prepared to do something in exchange. The original expression is Lè w manje lajan Chango, fò w peye Chango (“When you use Chango’s money, you better pay Chango back.”)
    12. Degi – A small bonus, like a baker’s dozen. (This twelfth entry on a list of eleven is your degi!) I knew this word before, from every time I’ve bought rice or beans in a Haitian market, but I did not know that degi comes from the Fon language of West Africa, as Jean Dominique learned when he interviewed the ambassador from Benin, Patrice Houngavou, in 1978.

A Note from Rubenstein Staff: Laura, we will miss you! Thank you for your incredible and invaluable work on this massive and complicated project.  We are so lucky to have pote kole with you these past few years. Because of your hard work, expertise, and passion, the Radio Haiti Archive  is accessible to people all over the world. How amazing is that?! We wish you all the best and look forward to hearing about your future endeavors.

The processing of the Radio Haiti Archive and the Radio Haiti Archive digital collection were made possible through grants from the National Endowment for the Humanities

I Wander all Night in My Vision: Commemorating William Gedney and Walt Whitman

Post contributed by Paula Jeannet, Visual Materials Processing Archivist at the Rubenstein Library

“Apart from the pulling and hauling stands what I am,
Stands amused, complacent, compassionating, idle, unitary,
Looks down, is erect, or bends an arm on an impalpable certain rest,
Looking with side-curved head curious what will come next,
Both in and out of the game and watching and wondering at it.

Backward I see in my own days where I sweated through fog with
linguists and contenders,
I have no mockings or arguments, I witness and wait.”

Walt Whitman, “Song of Myself,” Section 4

June 23, 2019 marked the 30th anniversary of photographer William Gedney’s death in New York City in 1989 at the young age of 56.  Gedney’s career spanned a time of great changes in American society and elsewhere, and in his photographs he captures the vitality and promise of those decades as well as the counterweights of social isolation and poverty.  A lover of literature, he found early inspiration for his work in another New Yorker: Walt Whitman. Like Whitman, Gedney was fascinated by people in all their complexity and was an exceptional portraitist, using his camera rather than a pen; like Whitman, he was especially drawn to street life and crowds.  The full extent of Gedney’s preoccupation with Whitman can be more fully explored through the photographer’s archive; for now, this blog post will indicate some starting points in the collection.

Born in 1932, Gedney grew up in rural Greenville, New York, in the Hudson River Valley.  As a child, his family took him to visit relatives in the big city, and ultimately he studied art at Pratt Institute and moved into a cold-water flat in Brooklyn in the mid-1950s. While working as a commercial photographer to pay the bills and cover darkroom expenses, he roamed Brooklyn neighborhoods, his camera loaded with black-and-white film.  Many of the images capture daily life and the inhabitants of Myrtle Avenue, where he lived.  He continued this documentary work for the rest of his life.

Black and white photograph with elevated railway on Myrtle Ave in Brooklyn
Myrtle Avenue, May 5, 1969, 4:45 pm [taken from Gedney’s apartment window].  Print RL10032-P-1580-6682-08.   From this vantage point, Gedney also documented the demolition of the elevated railway soon after its closure in October 1969.  William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library
Black and white photograph of two boys
Caption: Brooklyn, 1955-1959. Print RL10032-P-B14-75-21. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library
Person with their arms out wide and head thrown back, perhaps smiling.
O’Rourke’s, January 9, 1960. Print RL10032-P-0057-0589-43. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library

In 1966, William Gedney’s photographic life took flight: he traveled to Kentucky (twice), cross country to California (also twice), then across the ocean to Ireland, England, Paris (twice again), and India, also twice.  Brooklyn always drew him back.

Sometime around 1968 or 1969, perhaps inspired by Whitman’s interest in celebrating and documenting urban street life, he began a consuming project to uncover the history of Myrtle Avenue from its beginnings in the 18th century, using newspapers and literary sources, including the Brooklyn Eagle, for which Whitman served as editor, writing copious notes and pasting clippings in two volumes, Myrtle Avenue 1 and 2 – another habit he would continue throughout his life.  Some of his notes include transcripts of Whitman poems:

Two pages from Gedney's journal from 1969.
Myrtle Avenue, Book 1, pages 6-7. Transcription of Walt Whitman’s “Song of the Open Road,” Leaves of Grass.

At some point (probably earlier than 1969), he discovered that Walt Whitman had lived in Brooklyn, on 99 Ryerson Street, just a few blocks from Gedney’s neighborhood on Myrtle Avenue.  While living at that address, Whitman published his ground-breaking epic poem Leaves of Grass in June 1855.

Although it’s not clear when the idea first came to him, in 1969 Gedney began to create the layout for a project to combine Whitman’s verses with his own photographs of New York City.  In one of his notebooks, titled only with the year 1969, he writes about “the bridge” photographs, and of framing them with Hart Crane’s poem “The Bridge.”

Black and white photograph of the Brooklyn bridge.
Brooklyn Bridge, circa 1959, Print RL10032-P-0008-0076-30. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library

A few months later, in the same notebook, Gedney writes “I think the bridge pictures would be best paired with Whitman’s Brooklyn Ferry poem under the overall title ‘Brooklyn Crossing.’  His poem is the one I was most under the influence at the time.”  The Brooklyn Bridge book maquette in the Gedney archive contains no accompanying texts; however, during the recent Rubenstein project to rehouse and digitize the Gedney archive, the lead archivist came across this item hiding out in a box of oversize materials:

Stanza 2 of Walt Whitman’s “Crossing Brooklyn Ferry,” in Gedney’s own hand. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library

Sometime around 1970, Gedney again turned to Whitman’s verses, this time selecting the poem “I wander all night in my vision” to introduce his planned book of night photographs taken in India.  Clearly Whitman was still on his mind and informing his work.

Man asleep on a ledge in an alley at night
Benares, India, 1969-1971. Print RL10032-P-BE121-0950-26. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library
Whitman quote of "I wander all nigh in my vision"
Layout page from planned photobook of night photography from Benares, India, circa 1980. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library

I had thought Gedney’s connection to Whitman largely remained unexamined, with the exception of Margaret Sartor’s comments in her seminal book introducing Gedney and his archive to the world: What Was True: the Photographs and Notebooks of William Gedney (W.W. Norton, 2000). Then, while researching this blog post, I discovered Mark Turner’s book, Backward Glances: Cruising the Queer Streets of NY and London (Reaktion Books: London, 2003), which in the context of the phenomenon of male cruising, discusses the remarkable parallels between Gedney and Whitman. The two clearly favored male liaisons, and this orientation was reflected to some degree in their poetic and artistic work.  Beginning in 1975, Gedney began extensively documenting the exuberant gay pride parades as well as street hustlers in San Francisco and New York, until a few years before his death.  At the same time, he was intensely private about his personal life, never fully coming out even to his closest friends.

“…as I pass, O Manhattan! your frequent and swift flash of eyes offering me love,
Offering me the response of my own–these repay me,
Lovers, continual lovers, only repay me.”

Walt Whitman, “Calamus 18”

Men sitting on the grass, one man with his head resting on the lap of another
June 25, 1978, New York City, gay march, Central Park. Print RL10032-P-1876-9617-07. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library
Man with unbuttoned shirt standing on street near strip club.
No known title, 1969. Proof print, contact sheet 1588. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library

Like William Gedney, Walt Whitman also celebrates an anniversary in 2019: he was born 200 years ago on May 31, 1819.  Many events have been planned in his honor:  http://waltwhitmaninitiative.org/

It’s easy to imagine that he would have been intrigued by Gedney’s photography and pleased at the idea of a publication of Brooklyn images prefaced by his own verses.

Sadly, it was not to be: Gedney bequeathed the world a body of compelling, eloquent photographic work, but his many book projects remained unpublished, with only the book maquettes in the archive as evidence of Gedney’s hopeful plans.  Perhaps with the right editor, these two artists will be joined again as Gedney had imagined.

“These and all else were to me the same as they are to you,
I loved well those cities, loved well the stately and rapid river,
The men and women I saw were all near to me,
Others the same—others who look back on me because I look’d forward to them,
(The time will come, though I stop here to-day and to-night.)”

Walt Whitman, “Crossing Brooklyn Ferry,” stanza 4

No known title, circa 1968. Print RL10032-P-1537-6255-32. Tree in foreground, Walt Whitman’s tomb in background, Camden, New Jersey. William Gedney photographs and papers, © David M. Rubenstein Rare Book & Manuscript Library

 


Note about the Gedney Collection: Although William Gedney’s work was still largely undiscovered by mainstream audiences at the time of his death in 1989, it stood on the cusp of an awakening, thanks primarily to the efforts of close friends Maria and Lee Friedlander, and John Sarkowski, curator of photography at the Museum of Modern Art.  Eventually the entire Gedney archive — over 49,000 photographs, negatives, artwork, and papers – came to Duke University’s David M. Rubenstein Rare Book & Manuscript Library, and is now being digitized in its entirety (the finished prints and contact sheets are already available online). You can learn more about the collection by visiting the collection guide online.

New Acquisition Spotlight: The William T. Blackwell Family Papers

Post contributed by Meghan Lyon, Head of General Manuscript Processing at the Rubenstein Library

One of the Rubenstein Library’s older collections, the William T. Blackwell Papers, has recently grown thanks to a generous gift of 19th and 20th century papers and photographs from the Martin family, descendants of the Blackwell family. Before this latest addition, the William T. Blackwell Papers consisted almost exclusively of financial ledgers documenting the dramatic failure of the Bank of Durham, which opened in 1883, extended credit too liberally, and subsequently closed in 1889. This new addition has earlier material, documenting the rise of Blackwell’s fortune during the 1870s, as he and business partners James R. Day and Julian Shakespeare Carr built their factory, manufacturing and selling smoking tobacco through the W.T. Blackwell and Co Tobacco Company. The addition includes a notable cache of letters from Carr (yes, that Carr), documenting his and Blackwell’s partnership and their legal strategies during the Bull Durham trademark litigation through the 1870s.

These new records with the details of the W.T. Blackwell and Co. business operations would be exciting enough, but the rest of the addition is fascinating too. In fact, the nature of the collection has changed so significantly that we have opted to rename the collection to be the William T. Blackwell Family Papers. This better reflects the range of the materials now held – in addition to William T. Blackwell’s business materials, there is now correspondence, receipts, invoices, and other documentation of the daily life of the Blackwells, both W. T. and Emma Exum Blackwell, whom he married in 1877.  W.T. Blackwell’s sister, Lavinia Blackwell, later married J.D. Pridgen, who owned a shoe company in Durham and whose daughters attended Durham High School in the early 1900s. Their scrapbooks, which include snapshots and printed ephemera from their social activities and education in local Durham schools, have amusing, endearing captions. Mary Blackwell Pridgen, one of the daughters, kept scrapbooking as an adult, and her later marriage to Chester B. Martin explains the inclusion of Martin family materials in this collection as well. In 1927, Chester B. Martin co-founded and operated Durham Dairy Products, Inc., which was Durham’s first milk delivery service. Materials from Durham Dairy include a nearly-complete run of company newsletters – Durham Dairy Doings – with great hand-drawn cartoons, profiles of staff and workers, local Durham news, and insights into the company’s marketing and delivery of milk. The multi-generational aspect of this collection has been challenging but fun to sort out – especially since it is all Durham history, and not just about tobacco (or banks!) anymore.

Following are images of some of my favorite items from the collection. See the newly published collection guide to explore further.

Children in cart pulled by two goats.
An original (but damaged) mounted photograph of the William T. and Emma Blackwell home, once located at Chapel Hill and Duke Streets, Durham. This is now the site of the Duke Memorial United Methodist Church. There is additional information about this site on OpenDurham.org.

 

Smoking farm animals
An empty 19th century Durham tobacco pouch, featuring smoking animals.

 

Envelope with engraving of warehouse
W.T. Blackwell & Co. had amazing stationary. This is the back of one of the company’s envelopes.

 

Colorful letterhead with cow
More W.T. Blackwell & Company letterhead can be seen on this statement where William T. Blackwell formally apologizes for offending Mr. C.B. Green during the Raleigh State Fair in 1872.

 

Three black and white photos of three women.

Ticket to 1920 state fair
Two pages from Mary Blackwell Pridgen’s scrapbook; one includes a ticket to the 1920 Raleigh Fair, which was hopefully less scandalous than the 1872 Fair.

 

Man leaning on log with two possums.
An (unfortunately) uncaptioned loose snapshot of a man and two possums.

 

Cats wearing tiny gloves in a ring boxing.
A scrapbook page from Mrs. C. B. Martin, dating from the 1960s, with an article about boxing cats.

 

Cartoon of anthropomorphized cows.
A cover from a 1946 issue of Durham Dairy Doings, published by Durham Dairy Products, Inc. These serials are being cataloged separately as a new title in Rubenstein Library.

Event: Radio Haiti Culminating Event with Haitian Journalist and Human Rights Activist Michèle Montas

What: Radio Haiti Project Culminating Event: A Conversation with Michéle Montas

When: 5:30 PM, Thursday, April 11

Where: Ahmadieh Family Lecture Hall, Bay 4 (C105) Smith Warehouse, 114 S Buchanan BLVD, Durham, NC 27701

Haitian journalist and human rights activist Michéle Montas discusses the legacy of Radio Haïti-Inter, Radio Haiti’s archive at Duke’s Rubenstein Library, and the past, present, and future of justice and impunity in Haiti. With additional remarks by Laurent Dubois, Radio Haiti project archivist Laura Wagner, and AV archivist Craig Breaden. Light refreshments. Free and open to the public.Poster for Radio Haiti Event

The processing of the Radio Haiti Archive and the Radio Haiti Archive digital collection were made possible through grants from the National Endowment for the Humanities.

Event: Why Did the United States Medical School Admissions Quota for Jews End?

Why Did the United States Medical School Admissions Quota for Jews End?

Date: Thursday, April 11

Time: 5:30 p.m.

Location: Holsti-Anderson Family Assembly Room, Room 153, Rubenstein Library

Contact: Rachel Ingold, rachel.ingold@duke.edu, (919)684-8549

Professional photo of Dr. HalperinPlease join the History of Medicine Collections for our next Trent History of Medicine Lecture Series event. Edward C. Halperin, M.D., M.A. will present “Why Did the United States Medical School Admissions Quota for Jews End?” At the end of World War II anti-Semitic medical school admissions quotas were deeply entrenched in the United States. Twenty-five years later they were gone. Why did that happen and what are the implications for the current controversy regarding alleged quotas directed against Asian-Americans?

Dr. Halperin is Chancellor/Chief Executive Officer of the New York Medical College, Valhalla NY.

All are welcome and encouraged to attend. No registration is needed. A light reception will follow.

Radio Activism and the Politics of Grassroots Change

Post contributed by Jennifer Garcon, Bollinger Fellow in Public and Community Data Curation at Penn Libraries

One morning in July 1965, an unfamiliar voice radiated from the transistor radios of Port-au-Prince residents. Rather than hearing pre-recordings of President-for-Life, François Duvalier, residents heard the dissenting voices of exiles based in New York. The program, La Voix de l’Union Haïtienne Internationale, would become known as Radio Vonvon.  While they must have immediately recognized the dangers of tuning in, people unearthed radios hidden in kitchens and in bathrooms, and continued to listen to the clandestine program each Sunday, “to listen to words of hope about one day ending this nightmare, in the words of New York-based Haitian journalist Ricot Dupuy. This, I argue, was a political act.

My doctoral research explores how journalists deployed various media strategies to mobilize their audiences against dictatorship in Haiti. I centralize broadcasting because, I argue, 1) radio was, and in many places, remains a powerful cultural force; 2) the medium was easily accessible and widely available, and thus had unparalleled democratic appeal and influence; and 3) radio, unlike print media, does not require literacy as a prerequisite for participation. Radio, particularly Kreyòl language broadcasting, was a platform that embodies equity and democratized politics; and vernacular radio archives reflect this inclusion.

From a material culture standpoint, reduced cost and increased post-WWII supply transformed radio technology into a crucial instrument of struggle in Cold War Latin America, and elsewhere in the Global South. As historian Alejandra Bronfman reminds us in Isles of Noise: Sonic Media in the Caribbean, “the sounds of radio are [by their very nature of production and dissemination] ephemeral.” For that reason alone, the comprehensiveness of the Radio Haiti Records are indeed exceptional.

Using a sampling of the approximately 5300 recordings and 191 boxes of paper documents that constitute the Radio Haiti archives —  spanning  field reports, editorials, investigative reports, in-studio interviews, and special programming —  I built an argument that reframes the everyday activities of ordinary people as political activity and agitation.

Investigating radio listening as a form of political engagement allows for a more granular examination of the transformation of civil society that I argue occurred between 1971 and 1987, during the presidency of Jean-Claude Duvalier and in the immediate aftermath of his fall from power. This, I contend, challenges the scholarly interpretations that mischaracterize peasants as politically inert throughout much of the Duvalier era, until the killing of three schoolboys in Gonaïves on November 28, 1985 (the Twa Flè Lespwa, or Three Flowers of Hope). In contrast, my research charts broad domestic ferment on the air-waves. Radio media, in addition to independent vernacular print outlets, offered a space where dispersed sectors of the Haitian population could critique and challenge state power. Radio records have helped to offer insights into patterns of open opposition to government excess that predate the 1985 killings. These included reactions to the murder of the young journalist Gasner Raymond, who was killed after investigating workers’ strikes at the state-owned cement factory in 1976;  rice farmers’ revolts against repressive local Macoutes in the Artibonite between 1977 and 1979; peasant farmers’ and workers’ opposition to Reynolds Haitian Mines in Miragoâne; attempted coups in 1981 and 1982, and anti-government bombings between 1980 and 1983.

Radio programming offered a discursive public space in which to practice one’s politics, where few other avenues remained. Having grown used to practicing forbidden forms of citizenship on the airwaves, this radio activism soon moved onto the streets. In the popular movement that uprooted Duvalierism, the Haitian majority– Kreyòl speaking peasant farmers, agricultural day laborers, and urban workers—who had once formed bases of support for the regime now demanded the end of the dictatorship. I plot the emergence of a nearly decade and a half long grassroots political movement against Jean-Claude Duvalier by examining radio media to show  how ordinary people first negotiated the terms of their citizenship within an authoritarian system, and later struggled to uproot that system in its entirety.

The complete audio archive of Radio Haiti will soon be available to the public via Duke’s Digital Repository, which will be an unparalleled resource for historians and other researchers interested in radio, political resistance, and the circulation of information in Haiti and in the Haitian diaspora.