Category Archives: Featured

The Scrutiny of Clara Barton, Heroine or Not?

Post contributed by Jared Marrotte, Trent History of Medicine Intern.

 

Image showing black and white portraits of seven white men who made up the committee.
International Committee of the Red Cross in Switzerland, from pg. 15 of The Red Cross, by Clara Barton 1898.

Clarissa Harlow Barton, born on December 25th, 1821, is one of the most distinguished women in American History. She is renowned for her remarkable first aid services for the Union during the American Civil War, being called by many the “Angel of the Battlefield”, tending to the wounded even on the frontlines. She is also credited with founding the American Red Cross, a relief organization which, at the time, only had chapters overseas. She would serve as the organization’s president until her resignation in 1904.

Image showing the title page of a book titled "The Red Cross" along with a portrait photograph of Clara Barton, a woman wearing a black dress and her hair worn up/
Barton in 1875, from The Red Cross, by Clara Barton 1898.

Despite her accomplishments and contributions to war and disaster relief, however, Barton faced criticism regarding her leadership of the American Red Cross, and even the legitimacy of some of the work attributed to her. Mabel Thorp Boardman, the woman who would succeed Barton as the president of the American Red Cross in 1905, would spearhead these criticisms in 1916. In response to a plan to memorialize Barton in the American Red Cross’ new Washington D.C. headquarters, Boardman wrote a 3-page letter of charges (found in Box 2 of the Clara Barton Papers in Duke’s Rare Book & Manuscript Collection) and ordered them sent to “every member of Congress”. Boardman gives 30 statements that can be divided into 4 categories of charges against Barton’s character:

 

images showing three typed documents
Some of the charges from Box 2 of the Clara Barton papers.

Statements 1-5 (page 1 of Boardman’s letter) question the legitimacy of the contributions Clara Barton made during the civil war, citing the lack of official documentation of her actions and impact, and emphasize that the building “is a memorial to all the women who sacrificed and suffered during the Civil War.”  After discrediting her efforts, they assert that another woman, , a fellow nurse during the conflict with official documentation of her efforts, would be more worthy of the memorial.

Statements 6-9 (page 1 of Boardman’s letter) question Clara Barton’s role in forming the American Red Cross, asserting that her efforts were not solely her own (nor were they the first), and that the organization she formed was small and lacked significant impact.

Statement 10 (page 1 of Boardman’s letter) cites a lack of official records of the activities of the Red Cross for 23 years (1881-1904 approximately); and related to that, statements 11-30 (pages 1-3 of Boardman’s letter) emphasize the lack of financial records of the American Red Cross during Barton’s presidency and claim that there were several instances of her misusing funds for personal use.

Boardman’s arguments, along with her tone throughout the letter, illustrate just how adamant she was that Barton, or as she says, “such a woman,” should not be memorialized in their new headquarters.

Only two months later, on November 27th, 1916, William Henry (W. H.) Sears and Dr. Julian Bertine Hubbel, both associates and former field agents of Clara Barton, responded with an astounding 225-page letter (also found in box 2 of the Clara Barton Papers) responding to every objection. The letter included both typewritten papers and evidentiary documents supporting Clara Barton’s innocence and accomplishments:

Bound volume containing a response to the charges against Barton.

The response to statements 1-5 (pages 1-10 of Sears’ letter) clarifies that the actual request, approved by Congress regarding the memorial, was meant to commemorate the services and sacrifices of the American women in U.S. conflicts, not just the Civil War. Even if that was the case, Sears and Hubbel prove, through correspondence between Barton and government personnel, the invaluable and often dangerous services she provided during the civil war.

The response to statements 6-9 (pages 10-17 of Sears’ letter) gives details regarding the first attempt at creating an American chapter of the Red Cross, which was a failure; she was not a part of this initial effort. It was Barton that managed to successfully ratify the Geneva treaty in the U.S., and the organization she formed had, contrary to Boardman’s statement, performed significant relief work. Sears shares several instances, such as “While Miss Clara Barton “remained” the President of this “small” American Red Cross she devised and proposed the American Amendment to the Geneva Convention, permitting the Red Cross to furnish relief on the fields of national calamities…” (page 14 of Sears’ letter)

Image showing title page for a book titled "Clara Barton, Humanitarian" along with a black and white photograph portrait of Barton, a woman wearing a light colored dress and hair pulled back into a bun
Barton from around the time she formed the American Red Cross, from Clara Barton Humanitarian, by Mrs. Corra Bacon-Foster, 1918.

The response to statements 10-30 was the strongest (pages 17-148), with Sears and Hubbel providing more than 100 pages worth of typewritten accounts, correspondences, unofficial records, and finance tables illustrating the efforts and finances of the American Cross during the 23-year gap addressed by Boardman. Clearly, the American Red Cross was neither idle nor insignificant during Clara Barton’s Presidency. To further support this, they also included several statements from commendatory press notices from various individuals and groups from different states and countries, praising her for her humanitarian services (pages 106-161 are filled with such praises).

Here is a small sample of statements praising Clara Barton. One reads “GREATEST HUMANITARIAN THE WORLD HAS EVER KNOWN.

Sears and Hubble conclude their response by reaffirming the character and accomplishments of Clara Barton, suggesting that the writer of the charges either wrote them out of malice or ignorance. If it is the latter, Sears asserts that the “defamer” should be given this record of Barton’s doings and be given an opportunity for “public retraction and apology.” (page 163 of Sears’ letter)

Today, Clara Barton is honored by several exhibitions, memorials, monuments, and historic sites around the country. Among which is an exhibition within the American Red Cross’s headquarters in Washington D.C., featuring one of her dresses that she would have worn during her meetings with U.S. military or government personnel.

Find more primary sources about Clara Barton at the Rubenstein Rare Book & Manuscript Library, including some written by herself!

Other resources:

https://www.clarabartonbirthplace.org/claras-life/

https://www.redcross.org/about-us/who-we-are/history/clara-barton.html?srsltid=AU7gw4UeGRWq3nRrVGpfb9a7wtZkCp4NphAoPGRWHm3dvDWHlD7B4B2t

Mabel Boardman | NOHredcross

In Memoriam: Robin Morgan, 1941-2026

May we go mad together, my sisters.
May our labor agony in bringing forth this revolution
be the death of all pain.
May we comprehend that we cannot be stopped.
May I learn how to survive until my part is finished.

– Robin Morgan, Monster (1972)

Hand-drawn and lettered advertisement. In the center is an outline image of a fist and the female symbol. The text includes "Women! Don't Miss Amerika!" and "Women: Demonstrate against the Miss Amerika Pageant"
Miss America Protest flyer, 1968. Robin Morgan Papers (https://repository.duke.edu/dc/wlmpc/maddc01004)

The Sallie Bingham Center mourns the loss of Robin Morgan who, through her prolific speaking, writing, and organizing, helped shape feminist thought and activism for more than half a century. An award-winning poet, journalist, and political theorist, Morgan was a leader of the contemporary women’s movement. In 1967, as a founding member of the New York Radical Women (NYRW) group, she was a key organizer of their inaugural protest of the Miss America pageant, an event that brought the emerging women’s liberation movement into public view.

In addition to Morgan’s books of poetry, novels, and nonfiction works, she edited a series of groundbreaking anthologies—Sisterhood Is Powerful (1970), Sisterhood Is Global (1984), and Sisterhood Is Forever (2003)—that brought together the voices, ideas, and experiences of generations of women and helped uplift feminist thought around the world. Sisterhood Is Powerful was cited by the New York Public Library as “One of the 100 Most Influential Books of the 20th Century”.

Morgan’s accomplishments continued across every medium in which she worked. With the royalties from Sisterhood Is Powerful, she founded The Sisterhood Is Powerful Fund, which provided seed money to many early women’s groups during the 1970s and 1980s. In 1984, she co-founded the Sisterhood Is Global Institute with Simone de Beauvoir, creating one of the first international feminist advocacy organizations. As editor-in-chief of Ms. magazine from 1989 to 1994 and global editor for more than twenty-five years, she helped develop it into an ad-free, international publication. In 2005, she joined Jane Fonda and Gloria Steinem in founding the Women’s Media Center to raise the visibility and influence of women and girls in media. And for the last fourteen years, she wrote and hosted over 500 episodes of WMC Live with Robin Morgan, an award-winning syndicated weekly radio program and podcast.

Morgan is widely credited with coining the word “herstory” to champion history written from a feminist perspective, emphasizing the experiences and point of view of women. Her own papers, which she placed in the Sallie Bingham Center from 2001 to 2026, offer an extensive record of a life lived at the intersection of literature, journalism, and revolutionary social change. The collection documents decades of organizing and advocacy, correspondence and collaboration, and writing and artistic expression. Her son Blake Morgan observed, “But first and foremost, she was an artist. Her art fueled her politics, fueled her feminism, fueled the way she raised me. She taught me that how one does anything is how one does everything—that the personal is political, and that as she once wrote, ‘Hate generalizes, love specifies.’”

We are grateful to have learned from Robin Morgan and to be the stewards of her papers as just one dimension of her enormous legacy.

Header image: Robin Morgan, New York City, 2023. From https://www.robinmorgan.net/images/

Movement History Initiative Visiting Fellowship for Artists and Creatives

Post Contributed by Mattison Bond, Movement History Initiative Coordinator

The Movement History Initiative is proud to announce its first-ever Visiting Fellowship for Artists and Creatives!  This is a new opportunity to bring artists and creators into direct contact with the archive, while allowing them to learn more about the history of SNCC and grassroots organizing!

The creation of art and the use of cultural organizing were central to the Student Nonviolent Coordinating Committee’s organizing methods. In that same spirit, the MHI Visiting Fellowship invites artists and creatives to immerse themselves in this history and draw on the archive’s materials to fuel their own work.

Two fellows will be selected to travel to the John Hope Franklin Research Center at Duke University and explore the Legacy of SNCC Collections in person. The fellowship provides up to $3,000 total, a $1,000 honorarium and a $2,000 travel stipend, with visits taking place between November 1, 2026, and February 28, 2027. Awardees will also participate in a public program in February 2027, sharing their work with the MHI community.

Applications are due October 9, 2026, at 11:59 p.m.

Full eligibility details and the application can be found by clicking the buttons below.

Learn More

Apply Here

For questions, please contact Mattison Bond, Movement History Initiative Coordinator – mattison.bond@duke.edu

Film Screening: Her Fight, His Name: The Story of Gwen Carr and Eric Garner

Post Contributed by Patrick Stawski, Human Rights Archivist and Caitlin Margaret Kelly, Curator, Archive of Documentary Arts

Award-Winning Documentary Her Fight, His Name Brings Community Activist Gwen Carr and Director Brad Bailey to Duke and Durham for Public Conversations

The David M. Rubenstein Rare Book & Manuscript Library will host two free public screenings of Her Fight, His Name: The Story of Gwen Carr and Eric Garner, (Brad Bailey, 2024, 30m)  recipient of the 2026 Rubenstein Library Human Rights Digital Storytelling Award. Community activist Gwen Carr and director Brad Bailey will participate in conversations following each screening, reflecting on the making of the film and Carr’s continuing fight for justice. The Duke Human Rights Center @FHI is co-sponsoring as part of its Rights!Camera!Action! film series.

film poster featuring woman in red sweater sitting on sofa
Her Fight, His Name: The Story of Gwen Carr and Eric Garner film poster

Screening Schedule

Duke University Screening
Thursday, September 10, 2026
12:00–1:30 p.m.
Ahmadieh Family Lecture Hall, Bay 4, C105
Smith Warehouse, Duke University

Community Screening
Thursday, September 10, 2026
6:30–8:00 p.m.
Durham County Main Library
300 N. Roxboro Street, Durham

Both events are free and open to the public.

Directed by Brad Bailey in association with Gwen Carr and the Mothers of the Movement, Her Fight, His Name follows Carr’s enduring fight for justice after the 2014 death of her son, Eric Garner, whose final words, ‘I can’t breathe,’ became a rallying cry against police violence and systemic racism. Filmed over several years, the documentary offers an intimate portrait of Carr’s transformation from grieving mother to nationally recognized advocate while exploring the intertwined themes of family, loss, community, and resilience.

CONTACT:
Patrick Stawski, Human Rights Archivist  (patrick.stawski@duke.edu)
Caitlin Margaret Kelly, Curator, Archive of Documentary Arts  (caitlin.kelly@duke.edu)

Profiles in Research: Julie Kliegman on Finding Renee Richards

Post contributed by Julie Kliegman, a writer and editor in Queens, New York. Kliegman received a Harry H. Harkins T’73 Travel Grant in 2024. Their new book Finding Renée Richards: The Groundbreaking Story of Tennis’s Trans Pioneer was published earlier this month by Harper Collins.

As a sports journalist, I knew titling my new book Finding Renée Richards would put me in a bit of a bind. Richards, the transgender woman who successfully sued for her right to play professional tennis alongside other women at the 1977 U.S. Open, is not an easily findable person in every sense. I located her just fine and visited her many times over the course of writing the biography, which is due out August 18 from HarperCollins. But Richards, now 92, and I knew she would be figuratively quite difficult to pin down in book form. After all, she herself had spent nearly half of her life searching for what she considered her true identity.

Old color photograph showing two women together outside. They are both smiling for the camera and the taller one in the center is holding a tennis racket.
Eleanor Dienstag (left) with Renée Richards (right) on the tennis court. Image from the Eleanor Foa Dienstag Papers, box 3.

When I arrived in Durham in March 2024, having received the Harry H. Harkins, Jr. T’73 travel grant, I wasn’t sure what I’d discover. I had an idea from the finding aid that the Eleanor Foa Dienstag papers were promising, but I had no idea just how key they’d prove to be in my quest to understand and relay to readers botRichards’s psyche and life story.

Dienstag, a feminist writer and activist, had once been contracted with Richards to help write the tennis player’s autobiography. The book never came to fruition, but Dienstag eventually gave her research, correspondence, interview transcripts, and manuscript draft to the Rubenstein Library, along with her other papers. I suddenly had a window into Richards’s thinking from decades before I was born through hundreds of pages of interview transcripts, as well as insight into what her friends and physicians — many of whom have since passed — made of her story at that time.

Among other treasures and important historical records, I found, in full, the statement Richards gave to the (often less than compassionate) press after she was outed as trans by none other than Tucker Carlson’s father. “Anatomically, functionally, socially, emotionally, and legally, I am female,” she told the assembled crowd. “I do not feel that I have an unfair advantage over other women in athletic competition.”

So much has changed since that brave, confident declaration, both for Richards personally and for society at large. But thanks in large part to Dienstag and the Rubenstein Library, I have put forth my best, richest effort toward Finding Renée Richards.

Healing and Truth-Telling: Aishah Shahidah Simmons papers

Post contributed by Ren Bickel, Technical Services Archivist for the Sallie Bingham Center for Women’s History and Culture

The Rubenstein Library is pleased to announce that the Aishah Shahidah Simmons papers are now open for research. Simmons is a Black feminist lesbian Buddhist practitioner, dharma teacher, and award-winning writer-filmmaker. Through three decades of cultural work, Simmons has created films which address Black lesbian identity, and sexual violence in Black communities, including her feature-length, award-winning NO! The Rape Documentary (2006). National Book and Pulitzer Prize-winning author Alice Walker, says of NO!, “If the Black community in the Americas and in the world would heal itself, it must complete the work this film begins.”

Simmons’s Lambda Literary Award-winning anthology, love WITH accountability: Digging Up the Roots of Child Sexual Abuse, brings together diasporic Black child sexual abuse survivors and advocates who, through first-person transformative storytelling, explore child sexual abuse within Black families and communities. Feminist activist and author Gloria Steinem says of love WITH accountability: “With this brave and healing anthology of truth-telling about sexual abuse within Black families, Aishah Shahidah Simmons sets an example for all families.”

orange flyer advertising "A Benefit for No! REEL Sisters Combating Violence Against Black Women"The daughter of Civil Rights activists and scholars Michael Simmons and Dr. Gwendolyn Zoharah Simmons, and the sister of Grammy Award-winning DJ and record executive Tyree Cinque Simmons (DJ Drama), Simmons grew up in Philadelphia, Pennsylvania. She is married to Black lesbian trailblazer Sheila Alexander-Reid, founder of Women in the Life. Simmons founded the multi-media company AfroLez ® Productions in 1992 while participating in a scriptwriting workshop at Scribe Video Center taught by her mentor, the late award-winning author and filmmaker Toni Cade Bambara. During the workshop, she wrote Silence…Broken, which she developed into a short film in 1993. The company later produced In My Father’s House (1996), among other films. NO! The Rape Documentary was funded by individual donors, community-based funders, and granting agencies such as the Ford Foundation, Astraea Lesbian Foundation for Justice, and the Valentine Foundation. The film had its world premiere at the 2006 Pan African Film & Arts Festival in Los Angeles, CA. Simmons’s films have been included in film festivals around the world and have been screened by many educational and activist organizations.

Simmons’s writings have been published in media such as USA Today, The Root, Ms. Magazine, The Feminist Wire, The New York Times, Lion’s Roar, Black Perspectives, and Left of Black, as well as in newspapers in Philadelphia and Chicago, among other cities. She has held artist-in-residence and guest faculty appointments at universities such as Williams College, Temple University, Scripps College, Spelman College, the University of Pennsylvania, and the University of Chicago. Since 1995, she has led over 400 workshops and dialogues in the U.S., Europe, Africa, Asia, and the Caribbean. She is an Insight Meditation (vipassanā) teacher, including as Resident Teacher at Delaware Valley Insight.

The Aishah Shahidah Simmons papers were acquired as part of the Sallie Bingham Center for Women’s History and Culture, the John Hope Franklin Research Center for African and African American History and Culture, and the Archive of Documentary Arts. The collection is comprised of 39 linear feet of materials that document Simmons’s professional career, filmmaking endeavors, and personal life. Researchers will be able to explore Simmons’s writings, correspondence, working files, and an extensive collection of audiovisual materials documenting her life and work. The materials will provide insight into independent filmmaking in the 1990s and 2000s through an intersectional Black feminist lesbian lens and preserve the personal stories of many Black women survivors of sexual violence who courageously chose to speak their truth.

Technical Services Archivist Ren Bickel prepared the collection for research use. Reflecting on Simmons’ papers, she notes, “This collection documents Simmons’s deep commitment to a Black feminist approach to survivor-centered cultural work, especially in her years-long quest to make NO! The Rape Documentary. Researchers will find an array of information about the practical aspects of creating independent documentary films, from securing funding and managing logistics, to writing, filming, and editing. The stories Simmons gathered of Black women survivors’ experiences are powerful and affecting. I’m so excited to see what researchers will discover and how they’ll incorporate the materials into their own writings and projects.”

We are excited to make this singular collection available to students, scholars, and other researchers.

“Placing my papers at Duke marks an important moment in my life and work. As a Black feminist lesbian survivor-healer whose cultural works, writings, and images are survivor-centered and rooted in non-carceral accountability, reaching communities globally, I am grateful that this work will be held with intention across the Sallie Bingham Center for Women’s History and Culture, the John Hope Franklin Research Center for African and African American History and Culture, and the Archive of Documentary Arts, accessible to generations who can learn from this work as ground to stand on and build beyond what I could imagine.” – Aishah Shahidah Simmons

 

Header image: Portrait of Aishah Shahidah Simmons by Studio TSHAY

The Music That Frees Us: Jonathan Lykes and BYP100 a Special Feature from the Movement History Initiative

Post contributed by Mattison Bond, Movement History Initiative Coordinator as part of the Movement History Initiative Movement Makers Series

Banner of headshots of individuals

The Music That Frees Us: Jonathan Lykes and BYP100 

As we celebrate summer, Pride, and Juneteenth, we are also reminded of the profound role that Black music has played in shaping this country’s culture and its movements. For the Movement History Initiative, that connection between music and organizing, past and present, is never far from mind. In this issue of Movement Makers, we turn our attention to Jonathan Lykes, co-founder and the current Director of Culture & Organizing with Black Youth Project (BYP100), whose approach to cultural organizing has always kept music at its center, as a strategy, practice, and passion worth sharing! 

Did you miss our last Movement Makers issue? No Problem! You can find it here!

photo of Black man with head in hand wearing yellow jacket
Photo courtesy of Jonathan Lykes

Jonathan’s Early Organizing Years:

 Before Jonathan Lykes (he/they/she) became the co-founder of The Black Youth Project 100 (BYP100) he was a statewide organizer for the Ohio Youth Voices for Justice. He was fifteen when he started working with the organization and in 2006 would lead the organization’s first ballot initiative campaign that lobbied to raise the minimum wage in Ohio and then successfully get the bill passed.

“That’s the first time I felt powerful. First time I realized that we could bring people, working class people together.”

Photo of two African American protestors one holding a bullhorn, the other holding a flag
Photo courtesy of Jontahan Lykes

He would carry this experience and momentum as a young organizer to the University of Chicago where he would meet and study under Dr. Cathy Cohen and Dr. Charles Payne, deepening his understanding of the movement in a theoretical and cultural way.

The Founding of BYP100

 Jonathan stated that Trayvon Martin is viewed as the Emmett Till by his generation of organizers. The death of the teenager, and the unjust acquittal of his killer ,were the catalysts that led to the  bringing together of many Black youth across the nation to rally and organize against police brutality and an unfair legal system. In 2013, under the leadership and vision of his professor, Dr. Cathy Cohen, 100 Black youth leaders from across the country would  gather at the Beyond November Movement Convening in Chicago. From this convening BYP100 would come into being, with Jonathan being one of its founders.

Unique to the organization was the need and push to function under a Black Queer Feminist lens. The core founders of BYP100  noticed that, oftentimes, leaders of  the movement were Black, cisgendered, and heterosexual , but what they wanted to accomplish would require a different approach. In order to reach “true liberation for all” the organization would need for those who were most vulnerable (queer, trans, femme, poor, disabled, and undocumented Black people) to be at the center of their organizing work.

“It was not an easy task to get everyone on the same page about this, but centering those silenced and vulnerable groups within Black communities recognizes and humanizes our people who have historically been left out. This was one of the central and strongest threads that kept the organization together.”

Black woman sitting on top of a stage black, green, and red flag in the background
Photo courtesy of Jonathan Lykes

The Intergenerational Spirit of Cultural Organizing

 Also, deeply ingrained within BYP100 is the method of cultural organizing, the ability to use art and culture to shift policy, practices, and the minds and hearts of people . The 100 youth that met in Chicago that fateful day, while from different walks of life, were well versed in the importance of sewing culture into their organizing practice. During the founding meeting, youth like those of the Freedom School tradition at the CDF’s Freedom School, Highlander Center and those from Camp Akili in Oakland, would begin chanting and singing into the space, setting a framework for the organization to function for years to come.  This aspect of organizing had been central to Jonathan even in his early years. During the reading of petitions to an Ohio senator, in order to get the minimum wage ballot passed, he would perform poetry, because of his experience as a spoken word artist in high school.

Crowd of Black people in hooded sweatshirts yelling in protest
Photo courtesy of Jonathan Lykes

That framework set at the founding convening would eventually crystallize into two values that still guide BYP100’s work today. The first, a holistic energy, which is the practice of bringing one’s whole self into organizing by using things like call and response, art, singing, and dance to carry the movement’s message as it works to shift policy and practice. The second is a polyrhythmic praxis, which originally belongs to music theory, but has been adapted by Jonathan to fit into his organizing work.

“Polyrhythmic praxis is how we get a whole bunch of people doing different things, moving in their individual energies to come together, not in complete unison, but in differentiated coordination…We have to be nimble, fluid, and our talents must show up everywhere…with our full selves in all the places we’re building. So polyrhythms, or polyrhythmic praxis, allows us to demonstrate metaphorically, through the power of our own voice, what is taking place in this larger movement.”

The strategic use of art and culture in organizing is one that has been passed down by organizers from different generations, and that was the case for Jonathan and BYP100. SNCC (also known as the Student Nonviolent Coordinating Committee) was known for their use of music during the movement. Not only were there singers who used their voice in order to call meetings to order and calm organizers during desperate times, they also created a group called the Freedom Singers who would travel throughout the country, rallying people to the cause of liberation in the South. These young singers – themselves Movement organizers grounded in struggle – would create albums and focus on specific freedom songs at different times and places within the movement.  They were very aware of the strength and unity their singing brought to Movement gatherings.

Four young people joined hand in hand singing in protest
SNCC Freedom Singers, Charles Neblett, Bernice. Reagon, Cordell Reagon, and Rutha Harris, photo by Joe Alper, found at crmvet.org

For Jonathan personally, the SNCC Freedom Singers, alongside Sweet Honey in the Rock and the Highlander Center for Research and Education – where for 5 years he co-facilitated the cultural organizing train-the-trainers program, – represent the musical and spiritual roots of what BYP100 has always tried to do: make the movement something you can feel in your body, not just understand in your mind.

SNCC and its legacy have been woven into the very fiber of BYP100’s movement work since the very beginning, both figuratively and literally, as Jonathan and a few of its members have had relationships with some SNCC veterans. SNCC Legacy Project chair, Courtland Cox, was present at the creation of the founding documents of the organization;  Charlie Cobb and Judy Richardson joined local BY0100 chapter members to provide advice and mentorship.

“We were fortunate to be inspired, mentored, and supported, not just by the historic direct actions [but also] the music actions that took place within SNCC’s history…what I love about SNCC and the SNCC Legacy Project is  they have such a rich history, but they’re still fighting with us in the present moment.”

The Black Joy Experience Album

Album cover for the Black Joy Experience
The Black Joy Experience Album, Volume Two

The clearest expression of BYP100 and Jonathan’s cultural organizing work is The Black Joy Experience, a two-volume album that captures the chants, songs, and political messages that have defined the organization at key moments in its history. The recording of Volume 1 began in 2016 and was released in 2018, with members flying in from chapters across the country to record at Howard University’s radio station in Washington, D.C., on donated studio time and without dedicated funding. Released alongside the album was a resource guide containing BYP100’s history, a 20-activity holistic energy curriculum, case studies on freedom music, and testimonies from members on why freedom songs are critical to Black liberation.

“This wasn’t just music for entertainment, it was music to change the material conditions of Black people’s lives. We wanted to ensure we were adding political education, even though you could just listen to the album without any additional context, once you listen you will leave more informed and connected to our ancestors just by entering into our organization’s musical and cultural experience…”

In the time that the album was released, the choir would tour to their chapter cities. In 2019, BYP100 took the project to West Africa, touring Sierra Leone, Togo, and Ghana during the Year of Return, sharing their music and message with Black diaspora communities across the continent. Spotify also spotlighted the album and displayed Jonathan’s music in Times Square New York during Pride Month in 2022.

Present Day and Still Singing

When asked if Jonathan had a favorite freedom song, or one that keeps them going, he smiled and answered honestly: “That’s a hard question. There’s so many.”  

Just like SNCC and the Freedom Singers realized, freedom music is not meant to apply to the whole movement, but instead to specific moments and places. So for Jonathan, his favorite song changes from “week to week or year to year”. He chose to shout out Bernice Johnson Reagon’s “There’s a New World Coming.” because of its direct connection to the theme of Afrofuturism and the building of a Black radical space that BYP100 is currently focusing on.

Group of people in a bar location with instruments
Photo courtesy of Jonathan Lykes

 “I Love Being Black” from The Black Joy Experience and another of Jonathan’s personal favorites, serves as BYP100’s unofficial anthem with music by Jonathan and lyrics written by Je Naè Taylor this song speaks directly to how Jonathan understands freedom music. He believes it lives within communities, not on the charts. For Jonathan, commercialized music has not only been anti-Black, but a tool of capitalism and of the enemy. He doesn’t rely on it for that kind of spiritual enrichment. Freedom music, by contrast, is built to grow community, communicate values, and preserve history. It’s difficult to find, and when it surfaces, it’s often suppressed. For Jonathan, that’s not a reason for despair, it’s a reminder of why direct, people-centered organizing still matters most.

For those looking to find more freedom music, Jonathan’s answer is both practical and urgent. Base-building organizations must center it in their work as a rigorous cultural practice embedded in everything they do. In BYP100, that means opening and closing every meeting with song and chant, carrying the tradition forward the way SNCC once did. And for those who stumble across freedom music on their own — say, finding The Black Joy Experience on a playlist, Jonathan encourages them to follow that thread, to seek out what they haven’t yet heard, and, if they feel the call, to create their own.

BYP100 is celebrating its 13th birthday on July 13th, which is no small feat for an organization that continues to face systemic opposition designed to silence movements like theirs. Through it all, Jonathan remains rooted:

“I’m excited for the next 15 years of building Black political power and sharing radical freedom music with the masses.”

Large group photograph of African American young people
Photo courtesy of Jonathan Lykes

 

***

Hello Reader,

We want to take a moment to say thank you!

 At the Movement History Initiative, we understand, as SNCC knew well,  how essential communication and community are to the movement. As our community, we are grateful for your  continued support, and for helping us keep this history alive.

We are taking a summer break, but will return in August with more movement history, archival finds, and upcoming events. In the meantime, stay connected with us through our socials and explore our partners on the website. Also, keep an eye out for updates on events and fellowship opportunities.

Also, if you’ve enjoyed the newsletter,you should tell a friend! Forward this email along, or use the link at the button below to continue spreading the knowledge of the movement!

We’ll see you in the fall!

Forward Together,

Mattison Bond, Movement History Initiative Coordinator.

Profiles in Research: Daniel Belasco on Irene Peslikis

Post contributed by Daniel Belasco. Belasco is an art historian, the Executive Director of the Al Held Foundation, and the author of numerous essays and reviews on women artists and feminism, including the book Women Artists in Midcentury America: A History in Ten Exhibitions (Reaktion, 2024). Belasco received a 2025-2026 Mary Lily Research Travel Grant from the Sallie Bingham Center.

Artist, educator, and feminist organizer Irene Peslikis (1943 – 2002) is probably best known as the Marxist Girl depicted in Alice Neel’s 1972 oil painting of the same title.  One arm raised, revealing her unshaved armpit, Peslikis sprawls on a purple upholstered chair, a moment of repose in her swirl of activity. Fortunately, the Rubenstein Library had the foresight and wherewithal to appreciate her significant, if largely unsung, contributions at the intersections of art and feminism in the late 1960s and 1970s.

I was keen to travel to Duke to delve deeply in her papers, chock full of notebooks, correspondence, ephemera, and documentation of her paintings, prints, and drawings, to support my research for my book on the emergence of the feminist art movement in the 1960s. I was especially eager to study manuscript versions of some of her political cartoons about abortion rights. What blew me away was a trove of other drawings and cartoons satirizing the intersections of culture, militarism, and masculinity. While most of these targeted the American war in Vietnam, one sketch caught my eye, and has stayed with me as a profound statement of the distortion of history and aesthetics to serve political opportunism and profiteering.

Geometric patterns in black ink on grid paper. There are four numbered patterns, with the fourth taking the shape of the swastika
Irene Peslikis Papers, Box 32, folder “drawings pencil and pen”

The drawing begins on the left side as a basic geometric meander, much like the interlocking forms one sees on a classical Greek frieze or border décor. Then, in three steps, Peslikis subtly twists the lines and manipulates the angles so that the decorative beauty wraps around itself to form a swastika. As the daughter of Greek immigrants to the U.S., Peslikis read and wrote Greek and felt outrage at her homeland’s slippage into fascism after the military junta of 1967. The drawing is signed but not titled. Elsewhere in her archive, I found a slide of a more polished version of the drawing on plain, unlined paper. The title, “A Brief History of Modern Greece,” drives home the point, transforming the original sketched idea into an effective political cartoon. Though I am not aware of her publishing or otherwise circulating this image, it exemplifies the power of pictures that artists like Peslikis harnessed to advocate for women’s and worker’s rights in a public arena.

The same set of four geometric patterns as in the previous image, but on plain paper and labelled "A Brief History of Modern Greece"
Irene Peslikis Papers, box 36, folder: slides 4

Peslikis, as a fervent participant in the women’s liberation movement, rejected the traditional values of her upbringing to embrace the bold new future of sex and race equality, abortion rights, and the elimination of male supremacy. The elegance and concision of her drawing reveals, to me, a clear mind freed from old habits and internalized oppression. Her use of graph paper, and numbered iterations of the image lends the work a didactic, instructional quality. Ultimately, Peslikis’s incisive drawing introduced me to her fascinating process of unlearning, as much a statement of political critique, an insight I only was able to make after spending time in her archive.

 

Art historian Daniel Belasco is the Executive Director of the Al Held Foundation and the author of numerous essays and reviews on women artists and feminism, including the book Women Artists in Midcentury America: A History in Ten Exhibitions (Reaktion, 2024). Belasco received a 2025-2026 Mary Lily Research Travel Grant from the Sallie Bingham Center.

A History of French Marketing with Draeger Frères

Post contributed by Brandee Newkirk, Processing Intern for the John W. Hartman Center for Sales, Advertising & Marketing History.

During my time as an intern for the Hartman Center for Sales, Advertising & Marketing History at Duke University’s Rubenstein Library, I had the opportunity to process the Draeger Frères printing collection. While at first glance this collection seemed distant from my dissertation research that focuses on diet and fitness culture among Black women between the 1920s and the 2000s, I was pleasantly surprised by the collection’s breadth and depth. The collection includes hundreds of items that reflect an almost century-long span of French’s marketing history, and it touches upon so many research interests that even some of its items contributed to my own research.

Draeger Frères was one of the leading, high-end publishing companies in France for close to 100 years. Founded in 1866 by Charles Draeger as Draeger & Lesieur, the company began expanding its clientele through participation in the 1889 International Exposition, which featured several of its specialty self-promotional color catalogs.[1] After the death of Charles Draeger in 1899, Draeger’s wife, Amélie Bagdassard Draeger, took over the company with their sons Georges, Maurice, and Robert, keeping Draeger Frères a family business.[2] By the interwar era, Draeger Frères had reached its peak and was known as one of the pioneers of marketing and advertising in France. This success led many companies to work with Draeger Frères; among them are Coty, Hermès, Renault, Printemps, and Ford.[3] This success also drew many artists to begin their careers with Draeger Frères, including René Vincent, Charles Martin, Man Ray, and R. Ernst, among countless others.[4]

Draeger Frères achieved success through its innovative color printing techniques, established by Charles Draeger’s early work. The printing company became known for its half-color and two-color printing processes and, by the 1930s, invented Procédé 301 (Process 301), which combined methods of three-shot color photography, color correction, and photogravure printing to create bright, colorful photographs and illustrations in its printed catalogs.[5] This patented technique quickly propelled the printing company, as many companies desired brochures and catalogs that best captured their products. Printing for the Draeger Frères company ended in the 1970s, as large-scale print advertising began to dwindle, yet the Draeger brand remains active in France today.[6]

The collection of industries, companies, artists, and governments, including the Vichy regime, featured in Draeger Frères’ printed brochures, catalogs, and art books displays the topical reach of advertising and marketing. For my own research, which focuses on diet and weight culture among Black women in the early 20th century, Draeger Frères’ extensive work producing catalogs for many fashion stores and clothing companies in France gave me deeper insights into French beauty and clothing trends. Many elite Black figures began to travel to France in the 1920s due to the country’s more accommodating attitudes toward Black Americans, including artists such as Laura Wheeler Waring and W.E.B. Du Bois, and French beauty ideals regarding a woman’s figure began influencing Black culture. Draeger Frères’s collection of catalogs for the High Life Tailor company, a large-scale French clothing store, became a primary resource for my research.

The Draeger Frères printing collection at the Hartman Center demonstrates the vast intellectual range found in advertising and marketing materials. From fascist regimes to 20th-century automobile marketing, researchers can use this collection and pull at the historical threads that linger within the oeuvre of Draeger Frères’ printed works, which present a distinctive narrative to French and even global consumer histories. This collection is already available to researchers at the Rubenstein Library.


Footnotes:

[1] Kim Timby, “Draeger Frères: Tradition and Innovation in the Printing of Art and Advertising,” in Factory Photobooks. The Self-Representation of the Factory in Photographic Publications, ed. Bart Sorgedrager (nai010, 2023), https://hal.science/hal-04308687. Background information on Draeger Frères can also be found on their company website: https://fr.checkout.draegerparis.com/pages/notre-histoire.

[2] Ibid.

[3] Draeger Frѐres printing collection, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

[4] Ibid.

[5] See Box 14, Item # 4, For a more detailed description and finding aid see: https://archives.lib.duke.edu/catalog/draegerfreres

[6] See boxes 7,8,9, and 12, Item #s 170-213

Marginalized, but Not Marginal: Accounting for Enslaved Lives in the Ledgers of a New Orleans Merchant

Post contributed by Reina Henderson, PhD, Eleanor Jantz Processing and Cataloging Intern

At first glance, the accounting books of E.L. Bernard look like any other set of nineteenth-century commercial records. The pages are filled with the looping script of professional clerks and the endless columns of numbers that drove the economy of antebellum New Orleans. They list shipments of French wine and invoices for mahogany furniture. They track the price of cotton and the arrival of ships from Bordeaux. It is a picture of sophisticated international trade. However, if you look closer at the columns of debits and credits, a much darker reality begins to emerge. These books do not just record the movement of goods. They record the systematic commodification of human beings.

Account books like these have long carried an aura of authority. Ledgers are presented as neutral instruments of fact where emotion falls away, and truth is reduced to figures that can be verified and balanced. We’re inclined to trust them precisely because they appear unadorned. Numbers seem to tell us what happened without interpretation. However, this promise of neutrality is itself fiction. Ledgers do not simply record economic life. In a place like New Orleans, one of the most profitable ports of the nineteenth century, they actively shaped it. They organized human activity into categories of value and loss. What they choose to name, how they name it, and what they render interchangeable all reveal the moral architecture of the world they helped sustain.

Accounting for Human Lives

The most chilling aspect of the Bernard ledgers is how mundane the entries are. In a General Ledger dating from 1815 to 1826, the merchant tracks his financial assets. On one page he lists his shares in the State Bank. On the very same spread, he lists an account titled “Nègres de Compte à 1/3.”

A page from a ledger with text handwritten in French.

 

This was a joint-venture investment account. E.L. Bernard was not just buying enslaved people for his own use. He was speculating on them and trading them. The ledger shows that he held a one-third financial interest in a partnership designed to buy and sell human beings for profit. The debits represent the purchase price of men and women. The credits represent their sale. To the merchant and his accountant, these individuals were indistinguishable from the bales of cotton or barrels of sugar listed on the subsequent pages. They were simply inventory.

“Armantine, Her Child”

While the earlier ledgers show the cold mathematics of the slave trade, the later volumes reveal the daily reality of labor and control. In an account book from the 1850s, we find the name Armantine. She was an enslaved woman hired by Bernard from her owner for temporary work. The entry is brief but devastating. It records a payment for “Armantine, son enfant,” or Armantine and her child.

Partial page of a ledger with text handwritten in French.

This single line item exposes the total dehumanization of the system. Bernard paid for the pair as a single unit. The child is listed not as a person but as an appendage to their mother. The age of Armantine’s child is impossible to determine from the record. Like so many children born into slavery, the child appears only fleetingly in the archive, visible only insofar as their dependency affected the price of their mother’s labor. The line does, however, imply the child was too young to be separated from her and so the business simply absorbed the cost of the child’s presence as a necessary expense attached to Armantine. Other entries show Bernard paying for “robes and souliers” or dresses and shoes for Armantine. These were not gifts. They were maintenance costs for a rented asset. In other words, supplies.

The Hidden Labor of the Port

The ledgers also challenge our image of slavery as a purely agricultural institution. E.L. Bernard was a city merchant and his books show that urban slavery was the engine of the New Orleans port. We see payments for enslaved men named Hilaire and Edouard. They were hired for “armement” or the outfitting of ships. These men were the ones loading the cargo and repairing the rigging and preparing the vessels that connected New Orleans to New York and France. They were skilled laborers whose time was rented out by the day or week.

When we read the manifests of the ships Mohawk or Neptune in the 1830s journals, we see lists of “Colonial Goods” like coffee and indigo arriving from the Caribbean and bales of cotton leaving for New York. It is easy to see these merely as commodities, but the names in the ledger remind us that every pound of sugar and every bale of cotton was the product of enslaved labor. The “Maison de Noir” or slave quarters mentioned in the expense accounts was just as essential to Bernard’s business as his warehouse or his counting house.

Ledger page with handwritten text in French.

Recovering the Names

Documents like Bernard’s ledgers are difficult to read. They reduce complex human lives to prices and dates. However, they are also vital. They provide proof of the individuals who built the wealth of the Atlantic world. Armantine and her child. Marthe. Hilaire. Edouard. Nicaise. The names of enslaved people often appear in spaces such as these, in the margins of a white merchant’s account book. Whole lives, thoughts, and actions caught in a line or two of text from which entire stories can and should be brought into view. Recovering such names from documents like these is an act that insists that accounting records be read not only for what they quantify but for whom they erase. The ledgers of merchants like Bernard remind us that modern systems of finance and record keeping were built alongside and through human commodification, a legacy that continues to shape how institutions measure value, responsibility, and loss today. By studying these ledgers and telling the stories of the people trapped within their columns, we can begin to acknowledge the human cost buried in the archives of western economies.