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Her father, Willie Smith, worked at the Roanoke Building Service Department. 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He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like \u003cem\u003eA Raisin in the Sun\u003c/em\u003e to Tupac Shakur's \u003cem\u003eRose Grew Out of Cement\u003c/em\u003e, and new plays written by young playwrights and actors like Derome Scott Smith in \u003cem\u003eR.I.O.T.\u003c/em\u003e or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre. He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1595#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1595","ead_ssi":"viu_repositories_3_resources_1595","_root_":"viu_repositories_3_resources_1595","_nest_parent_":"viu_repositories_3_resources_1595","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1595.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/192465","title_filing_ssi":"McClintock, Ernie papers","title_ssm":["Ernie McClintock papers"],"title_tesim":["Ernie McClintock papers"],"unitdate_ssm":["1961-2006"],"unitdate_inclusive_ssm":["1961-2006"],"normalized_date_ssm":["1961/2006"],"normalized_title_ssm":["Ernie McClintock papers, 1961/2006"],"text":["Ernie McClintock papers, 1961/2006","MSS 16810","Archival Resource Key","/repositories/3/resources/1595","Black Arts movement","Theatrical producers and directors","African Americans","Fair","The collection is open for research use.","The collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials.","Ernie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for River Niger and Equus. He won Best Director for Equus, Moon On a Rainbow Shawl and Outstanding Musical Creation for Tabernacle. McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of Shango, Do Lord Remember Me, Dream On Monkey Mountain and Spell #7 He was also the 1997 recipient of the Living Legend Award from the National Black Theatre.","After McClintock saw his first play, A Hatful of Rain  starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions.","Around 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.","In 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre.","Through his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.","In 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.","McClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.","Source:\nMaterial in collection","Apreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students.","This material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.","This collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like A Raisin in the Sun to Tupac Shakur's Rose Grew Out of Cement, and new plays written by young playwrights and actors like Derome Scott Smith in R.I.O.T. or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock.","One of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.","The collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work.","McClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence.","Also included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance.","Included in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting.","The photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.","The A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)","These plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026 Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller","The Art of Western Africa\nThe Illustrated Encyclopedia of Black Music","Albert and Shirley Small Special Collections Library","McClintock, Ernie","English"],"collection_title_tesim":["Ernie McClintock papers, 1961/2006"],"collection_ssim":["Ernie McClintock papers, 1961/2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16810","Archival Resource Key","/repositories/3/resources/1595"],"unitid_tesim":["MSS 16810","Archival Resource Key","/repositories/3/resources/1595"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["McClintock, Ernie"],"creator_ssim":["McClintock, Ernie"],"creator_persname_ssim":["McClintock, Ernie"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["McClintock, Ernie","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was purchased  from Geno Brantley and Donna Pendarvis by the Small Special Collections Library at the University of Virginia Library on 15 March 2023."],"access_subjects_ssim":["Black Arts movement","Theatrical producers and directors","African Americans"],"access_subjects_ssm":["Black Arts movement","Theatrical producers and directors","African Americans"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair"],"extent_ssm":["24.44 Cubic Feet 40 document boxes, 1 cubic of awards, and several cubics of A-V materials","0.0093 Gigabytes 1 PUB file"],"extent_tesim":["24.44 Cubic Feet 40 document boxes, 1 cubic of awards, and several cubics of A-V materials","0.0093 Gigabytes 1 PUB file"],"physfacet_tesim":["1 CDR"],"date_range_isim":[1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials."],"bioghist_html_tesm":["\u003cp\u003eErnie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for \u003cemph render=\"italic\"\u003eRiver Niger\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e. He won Best Director for \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eMoon On a Rainbow Shawl\u003c/emph\u003e and Outstanding Musical Creation for \u003cemph render=\"italic\"\u003eTabernacle.\u003c/emph\u003e McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of \u003cemph render=\"italic\"\u003eShango\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDo Lord Remember Me\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDream On Monkey Mountain\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eSpell #7\u003c/emph\u003e He was also the 1997 recipient of the Living Legend Award from the National Black Theatre. \u003c/p\u003e","\u003cp\u003eAfter McClintock saw his first play, \u003cemph render=\"italic\"\u003eA Hatful of Rain \u003c/emph\u003e starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions. \u003c/p\u003e","\u003cp\u003eAround 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.  \u003c/p\u003e","\u003cp\u003eIn 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre. \u003c/p\u003e","\u003cp\u003eThrough his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.\u003c/p\u003e","\u003cp\u003eIn 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.\u003c/p\u003e","\u003cp\u003eMcClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.\u003c/p\u003e","\u003cp\u003eSource:\nMaterial in collection\u003c/p\u003e","\u003cp\u003eApreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Ernie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for River Niger and Equus. He won Best Director for Equus, Moon On a Rainbow Shawl and Outstanding Musical Creation for Tabernacle. McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of Shango, Do Lord Remember Me, Dream On Monkey Mountain and Spell #7 He was also the 1997 recipient of the Living Legend Award from the National Black Theatre.","After McClintock saw his first play, A Hatful of Rain  starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions.","Around 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.","In 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre.","Through his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.","In 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.","McClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.","Source:\nMaterial in collection","Apreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students."],"odd_html_tesm":["\u003cp\u003eThis material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.\u003c/p\u003e  "],"odd_heading_ssm":["General"],"odd_tesim":["This material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity."],"prefercite_html_tesm":["\u003cp\u003eMSS 16810, Ernie McClintock papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16810, Ernie McClintock papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like \u003cemph render=\"italic\"\u003eA Raisin in the Sun\u003c/emph\u003e to Tupac Shakur's \u003cemph render=\"italic\"\u003eRose Grew Out of Cement\u003c/emph\u003e, and new plays written by young playwrights and actors like Derome Scott Smith in \u003cemph render=\"italic\"\u003eR.I.O.T.\u003c/emph\u003e or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock. \u003c/p\u003e","\u003cp\u003eOne of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.\u003c/p\u003e","\u003cp\u003eThe collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work. \u003c/p\u003e","\u003cp\u003eMcClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence. \u003c/p\u003e","\u003cp\u003eAlso included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance. \u003c/p\u003e","\u003cp\u003eIncluded in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting. \u003c/p\u003e","\u003cp\u003eThe photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.\u003c/p\u003e","\u003cp\u003eThe A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like A Raisin in the Sun to Tupac Shakur's Rose Grew Out of Cement, and new plays written by young playwrights and actors like Derome Scott Smith in R.I.O.T. or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock.","One of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.","The collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work.","McClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence.","Also included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance.","Included in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting.","The photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.","The A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)"],"separatedmaterial_html_tesm":["\u003cp\u003eThese plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026amp; Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller\u003c/p\u003e","\u003cp\u003eThe Art of Western Africa\nThe Illustrated Encyclopedia of Black Music\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["These plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026 Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller","The Art of Western Africa\nThe Illustrated Encyclopedia of Black Music"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["McClintock, Ernie"],"names_coll_ssim":["McClintock, Ernie"],"names_ssim":["Albert and Shirley Small Special Collections Library","McClintock, Ernie"],"language_ssim":["English"],"total_component_count_is":659,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:40:42.029Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1595","ead_ssi":"viu_repositories_3_resources_1595","_root_":"viu_repositories_3_resources_1595","_nest_parent_":"viu_repositories_3_resources_1595","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1595.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/192465","title_filing_ssi":"McClintock, Ernie papers","title_ssm":["Ernie McClintock papers"],"title_tesim":["Ernie McClintock papers"],"unitdate_ssm":["1961-2006"],"unitdate_inclusive_ssm":["1961-2006"],"normalized_date_ssm":["1961/2006"],"normalized_title_ssm":["Ernie McClintock papers, 1961/2006"],"text":["Ernie McClintock papers, 1961/2006","MSS 16810","Archival Resource Key","/repositories/3/resources/1595","Black Arts movement","Theatrical producers and directors","African Americans","Fair","The collection is open for research use.","The collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials.","Ernie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for River Niger and Equus. He won Best Director for Equus, Moon On a Rainbow Shawl and Outstanding Musical Creation for Tabernacle. McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of Shango, Do Lord Remember Me, Dream On Monkey Mountain and Spell #7 He was also the 1997 recipient of the Living Legend Award from the National Black Theatre.","After McClintock saw his first play, A Hatful of Rain  starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions.","Around 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.","In 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre.","Through his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.","In 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.","McClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.","Source:\nMaterial in collection","Apreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students.","This material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.","This collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like A Raisin in the Sun to Tupac Shakur's Rose Grew Out of Cement, and new plays written by young playwrights and actors like Derome Scott Smith in R.I.O.T. or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock.","One of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.","The collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work.","McClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence.","Also included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance.","Included in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting.","The photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.","The A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)","These plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026 Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller","The Art of Western Africa\nThe Illustrated Encyclopedia of Black Music","Albert and Shirley Small Special Collections Library","McClintock, Ernie","English"],"collection_title_tesim":["Ernie McClintock papers, 1961/2006"],"collection_ssim":["Ernie McClintock papers, 1961/2006"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16810","Archival Resource Key","/repositories/3/resources/1595"],"unitid_tesim":["MSS 16810","Archival Resource Key","/repositories/3/resources/1595"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["McClintock, Ernie"],"creator_ssim":["McClintock, Ernie"],"creator_persname_ssim":["McClintock, Ernie"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["McClintock, Ernie","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was purchased  from Geno Brantley and Donna Pendarvis by the Small Special Collections Library at the University of Virginia Library on 15 March 2023."],"access_subjects_ssim":["Black Arts movement","Theatrical producers and directors","African Americans"],"access_subjects_ssm":["Black Arts movement","Theatrical producers and directors","African Americans"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair"],"extent_ssm":["24.44 Cubic Feet 40 document boxes, 1 cubic of awards, and several cubics of A-V materials","0.0093 Gigabytes 1 PUB file"],"extent_tesim":["24.44 Cubic Feet 40 document boxes, 1 cubic of awards, and several cubics of A-V materials","0.0093 Gigabytes 1 PUB file"],"physfacet_tesim":["1 CDR"],"date_range_isim":[1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"arrangement_html_tesm":["\u003cp\u003eThe collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is organized into seven series with 5 subseries under Series 1. Series 1. Black Theatre Development. Subseries 1. Afro-American Actors Studio for Acting and Speaking, Subseries 2. Boys Choir of Harlem, 3. Jazz Actors Studio, 4. Jazz Theatre of Richmond, Subseries 5. Personal papers and career, Series 2. Scripts, production files, and poems, Series 3. Programs, Series 4. Reviews, articles, theatres, and theatre education, Series 5. Scrapbooks, photographs, and negatives, Series 6. Awards and certificates, Series 7. A-V materials."],"bioghist_html_tesm":["\u003cp\u003eErnie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for \u003cemph render=\"italic\"\u003eRiver Niger\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e. He won Best Director for \u003cemph render=\"italic\"\u003eEquus\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eMoon On a Rainbow Shawl\u003c/emph\u003e and Outstanding Musical Creation for \u003cemph render=\"italic\"\u003eTabernacle.\u003c/emph\u003e McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of \u003cemph render=\"italic\"\u003eShango\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDo Lord Remember Me\u003c/emph\u003e, \u003cemph render=\"italic\"\u003eDream On Monkey Mountain\u003c/emph\u003e and \u003cemph render=\"italic\"\u003eSpell #7\u003c/emph\u003e He was also the 1997 recipient of the Living Legend Award from the National Black Theatre. \u003c/p\u003e","\u003cp\u003eAfter McClintock saw his first play, \u003cemph render=\"italic\"\u003eA Hatful of Rain \u003c/emph\u003e starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions. \u003c/p\u003e","\u003cp\u003eAround 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.  \u003c/p\u003e","\u003cp\u003eIn 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre. \u003c/p\u003e","\u003cp\u003eThrough his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.\u003c/p\u003e","\u003cp\u003eIn 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.\u003c/p\u003e","\u003cp\u003eMcClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.\u003c/p\u003e","\u003cp\u003eSource:\nMaterial in collection\u003c/p\u003e","\u003cp\u003eApreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Ernie McClintock (1937-2003) was an award-winning American director, teacher, and theatre artist who was a major force behind the scenes of the Black Arts Movement (1965-1975). He was well-known to famous Black actors, directors, and playwrights. He worked with Tupac Shakur, Ossie Davis, James Earl Jones, Phylicia Rashad, Morgan Freeman, Lou Gossett, Jr., Sammy Davis, Jr., Dr. Walter Turnbull, Marc Primus, Woody King, Jr., Ntozake Shange, Amiri Bakara, and many others. He earned seven Audelco awards for his theatre work including Dramatic Production of the Year for River Niger and Equus. He won Best Director for Equus, Moon On a Rainbow Shawl and Outstanding Musical Creation for Tabernacle. McClintock was known in the theatre for bringing a unique blend of clarity, boldness and intense dramatic effect to his productions. He has been most acclaimed for his innovative and award winning productions of Shango, Do Lord Remember Me, Dream On Monkey Mountain and Spell #7 He was also the 1997 recipient of the Living Legend Award from the National Black Theatre.","After McClintock saw his first play, A Hatful of Rain  starring Frank Silvera when he was in high school in Chicago,he was deeply moved by the intense emotional performance of the lead actor. He started acting in plays in high school, at Crane College (now Malcolm X College)and in local Chicago productions.","Around 1965, after returning from two years of service in the U.S. Army, McClintock moved to New York City. After one of his performances, actor Lou Gossett, Jr. was so impressed that he hired McClintock to teach at his school. This experience would be crucial in the development of teaching theatre to hundreds of students across the country.","In 1966, McClintock founded his first acting studio, the Afro-American Studio for Acting and Speech, based in Harlem. In 1968, he opened the 127th Street Repertory Ensemble, which served as the professional extension of the school. Beginning around this time, McClintock also worked with the famous Boy's Choir of Harlem as a stage director and choreographer, a role that would last for the next decade.  In 1986, McClintock created the Harlem Jazz Theatre.","Through his teaching, McClintock developed his own acting technique that he called, \"Jazz Acting,\" or a \"Common Sense Approach\" to acting which according to McClintock \"allows actors to use their own life experiences to enhance their characterizations on the stage.\" An actor asks himself a series a questions about identity to better understand the character beyond the script and also learn who he is an actor. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experience. He directed over 200 theatrical productions, concerts, musicals, and club acts. McClintock believed that the depiction of hard life circumstances and the expressions of emotions in Black Theatre was a way of healing for African Americans.","In 1989, he and his partner, the artist, and designer Ronald Tyrone Walker, moved their life and work to Richmond, Virginia, renaming their studio the Jazz Actor's Theatre. \"Ronn\" Walker was born in St. Louis and met Ernie McClintock in 1962 in Chicago. He won three Audelco awards for his technical scenes and creative work on set design and lighting. Walker was known for being amazingly resourceful in creating stunning visual images for the stage.","McClintock and Walker became heavily invested in the performing arts community in Richmond, bringing back the annual National Black Theatre Festival (which McClintock founded in 1989) and collaborating on the \"Theatre for All the People\" program with the Richmond Department of Parks and Recreation.  After Ronald Walker died in 1999, McClintock created a new artspace for African Americans with a focus on multiculturism - the Ronald Tyrone Walker Memorial Gallery for the Creative Arts. McClintock consistently directed excellent theatre performances in his community and worked with local government throughout his life to promote world class Black theatre productions. He died in 2003 in Richmond, Virginia but his legacy lives on in this collection.","Source:\nMaterial in collection","Apreciation for Dr. Elizabeth Cismar, Geno Brantley (adopted son of Ernie and Ronn), Geno's partner and stage director Donna Pendarvis, actor and filmographer Derome Scott Smith, actors Mary Hodges, and Iman Shabazz for sharing their knowledge of the collection with the University of Virginia libary. The collection is a living archive of the work and legacy of Ernie McClintock and Ronn Walker for our users and future drama students."],"odd_html_tesm":["\u003cp\u003eThis material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity.\u003c/p\u003e  "],"odd_heading_ssm":["General"],"odd_tesim":["This material may contain offensive or harmful language or imagery. The purpose of this note is to give users the opportunity to decide whether they need or want to view these materials, or at least, to mentally or emotionally prepare themselves to view the materials. Photographs have some nudity."],"prefercite_html_tesm":["\u003cp\u003eMSS 16810, Ernie McClintock papers, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16810, Ernie McClintock papers, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like \u003cemph render=\"italic\"\u003eA Raisin in the Sun\u003c/emph\u003e to Tupac Shakur's \u003cemph render=\"italic\"\u003eRose Grew Out of Cement\u003c/emph\u003e, and new plays written by young playwrights and actors like Derome Scott Smith in \u003cemph render=\"italic\"\u003eR.I.O.T.\u003c/emph\u003e or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock. \u003c/p\u003e","\u003cp\u003eOne of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.\u003c/p\u003e","\u003cp\u003eThe collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work. \u003c/p\u003e","\u003cp\u003eMcClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence. \u003c/p\u003e","\u003cp\u003eAlso included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance. \u003c/p\u003e","\u003cp\u003eIncluded in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting. \u003c/p\u003e","\u003cp\u003eThe photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.\u003c/p\u003e","\u003cp\u003eThe A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains the papers of Ernie McClintock (1937-2003), an American director, producer, actor, writer, teacher, and theatre artist who was a major force in the Black Arts Movement. He taught acting to hundreds of students across the country and directed award-winning plays in Harlem, New York (1960-1989), and Richmond, Virginia (1989-2003). The McClintock papers are a living archive for future drama students and communities interested in Black theatre. They represent the works and dreams of a Black and Gay theatre director who persisted in giving voice to the Black and multicultural communities where he lived. His work spanned beyond one dimensional categories, and he was well-known behind the scenes with famous actors, directors, and playwrights, and was the recipient of seven prestigious Audelco awards for excellence in Black theater.  He  worked with Tupac Shakur, Ossie Davis, James Earl Jones, Felicia Rashad, Morgan Freeman, Lou Gossett, Jr., Dr. Walter Turnbull, Woody King, Jr. and others. McClintock was committed to world class excellence in theatre and to introducing more Black theatre productions to the community. He directed over two hundred performances from classics like A Raisin in the Sun to Tupac Shakur's Rose Grew Out of Cement, and new plays written by young playwrights and actors like Derome Scott Smith in R.I.O.T. or Jerome Hairston. His personal papers and theatre papers are combined because his life and family were inseparable from the theatre.  He also won the Billy Graham artistic excellence award in 2002. (There are two scripts in the collection written by Billy Graham about Martin Luther King, Jr. in Memphis). Too expansive to put in one category, anyone studying Black Theatre Arts will repeatedly come across the exemplary work of Ernie McClintock.","One of the highlights of the collection are McClintock's personal notebooks (over a hundred journals) that lay out his driving passion to create a world-class, first-rate theatre and his commitment to live in a world of honesty, pure intention, and love. The journals also contain many personal peptalks that he wrote to inspire himself to keep working toward his goals. He developed his own \"Jazz Style Acting Technique\" where actors imagine the character beyond the script to become the person in the play. His lesson plans include a series of questions and exercises that require the actor to discover himself as an actor and in character. He taught Black actors how to express themselves using their own Black experiences instead of the general acting techniques that were based on white experiences. His colleagues remarked that once an actor had worked with Ernie McClintock, their life and acting was transformed. He was a taskmaster that demanded commitment and excellence and his legacy was the improvement of individual actors and the promotion of Black theatre in communities. The reward was love for each other, and the investment of full emotional expression, and dynamic physical movement in theatre which could be healing to a community that has been so greatly ignored and mistreated.","The collection also includes personal and professional correspondence, financial documents, contracts, and manuscript notes which represent a significant piece of Ernie McClintock's creative output. There are also scripts and typescripts of plays McClintock produced and collected. The collection also contains newspaper clippings, reviews, articles, awards, promotional materials, playbills, programs, photographs, and audiovisual materials documenting his life and work.","McClintock started the Afro-American Actors Studio for Acting and Speech in New York City, and the Jazz Actors Theatre in Richmond, Virginia and he also worked with the community to create outstanding theatre productions, including the National Black Theatre Festival. His time was consumed with directing, teaching, fundraising, and writing drafts of promotional literature for events and workshops to promote theatre and excellence.","Also included are casting files which include headshots, resumes, and other casting/booking documents from McClintock-affiliated productions, and production files which contain programs and contract agreements for McClintock's productions. Many of the actors from the Afro-American Acting Studio in New York, followed McClintock to his Jazz Actors Theatre in Richmond, Virginia. They include Thaddeus Daniels, Joan Green, Helen Butler, Valerie Drummond, Lee Cooper, Hazel Smith, d. l. Hopkins, Leonard Wilson, Janice Jenkins, Jessie Holmes, Ed Broaddus, Jerome Preston Bates, Antonio Charity, J. Ron Fleming, Lee Levy Simon and many more. Other actors and theatre directors mentioned are Derome Scott Smith, Randy Strawderman, Mary Hodges, Mary Sue Carroll, Zaria Griffin, Bolanye Edwards, and Dr. Cumber Dance.","Included in the collection is information about and from Ronald \"Ronn\" Tyrone Walker, McClintock's long-time partner and technical director. Walker, an artist in his own right, received three Audelco awards for his amazing work with free standing scene designs and lighting.","The photographic materials document performances, rehearsals, events, and McClintock's personal life, and the life of Ronn Walker. The bulk of the photographs are in color, taken in Richmond circa 1991-2003. There are photographs of Ernie McClintock with Tupac Shakur. There is also a photograph of Sammy Davis, Jr. with the Boys Choir of Harlem, a contact sheet with James (J. J.) Walker (Dyn-O-mite from Good Times television show), and many photographs of playwrights, directors, and actors of note.","The A-V materials include audiocassette tapes where one can hear the voice of Ernie McClintock, and mostly mixtapes of music, and the reel-to-reel audiotapes including interviews and audio for performances and lesson plans from the Afro-American Actors Studio for Acting and Speech. There is one CD-R containing a Microsoft Publisher file (of an artist wanting to share her work with Ernie McClintock.)"],"separatedmaterial_html_tesm":["\u003cp\u003eThese plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026amp; Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller\u003c/p\u003e","\u003cp\u003eThe Art of Western Africa\nThe Illustrated Encyclopedia of Black Music\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["These plays have been cataloged separately in VIRGO.\nA Shot in the Dark-Harry Kurnitz\nAmerica Hurrah-Jean-Claude Van Itallie\nAnansi and Muntu-Sydney Hibbert\nThe Baptism and the Toilet-LeRoi Jones\nBefore It Hits Home- Cheryl L. West\nBending Over to Pick Up A Snake-Felton Eaddy\nBlack Drama Anthology-Woodie King and Ron Milner\nBlack Feeling, Black Talk, Black Judgement poems-Nikki Giovanni\nBlack Girl-J. E. Franklin\nBlack Poetry edited by Dudley Randall\nBlack Scenes-Alice Childress\nBlack Theatre Present Condition-Woodie King, Jr.\nBlack World A Johnson Publication December 1973\nBlack World A Johnson Publication February 1974\nBlithe Spirit- Noel Coward\nBlues for an Alabama Sky- Pearl Cleage\nThe Boys Next Door-Tom Griffin\nThe Brute and Other Farces- Anton Chekhov\nBuffalo Hair- Carlyle Brown\nColored Museum- George C. Wolfe\nCome Back Little Sheba-William Inge\nComing of the Hurricane- Keith Glover\nThe Crucible- Arthur Miller\nDancing On Moonlight- Keith Glover\nDream on Monkey Mountain and Other Plays- Derek Walcott\nDutchman and the Slave- LeRoi Jones\nEast Texas Hot Links- Eugene Lee\nEquus- Peter Shaffer\nFamous American Plays of the 1950's\nFive on the the Black Hand Side- Charlie L. Russell\nFlyin' West- Pearl Cleage\nFour Dynamite Plays- Ed Bullins\nFull Gallop- Mark Hampton and Mary Louise Wilson\nHandbook on Soviet Drama-H. W. L. Dana\nA Hatful of Rain- Michael V. Gazza\nHave You Seen Zandile?\n\"Hey Garland! I Dig Your Tweed Suit\"-Garland Lee Thompson, Jr.\nInherit the Wind- Jerome Lawrence and Robert E. Lee\nInsurrection: Holding History- Robert O'Hara\nIt's A New Day-Sonia Sanchez\nJoe Turner's Come and Gone- August Wilson\nThe King's Dilemma- Willis Richardson (signed by author to Afro-American Studio)\nThe Little Tommy Parker Celebrated Colored Minstrel Show- Carlyle Brown\nLong Time Since Yesterday- P. J. Gibson\nLove and War Poems-Marvin X.\nMACBETH (study book)-Mary Duffy Thompson and Harry G. Paul\nMedal of Honor Rag- Tom Cole\nMoon On A Rainbow Shawl- Errol John\nMy Sister, My Sister- Ray Aranha\nThe National Black Drama Anthology- Woodie King Jr.\nNew Plays for the Black Theatre- Woodie King Jr.\nNo Place To Be Somebody- Charles Gordone\nThe Old Settler- John Henry Redwood\nOthello- William Shakespeare\nThe Owl and the Pussycat- Bill Manhoff\nThe Piano Lesson- August Wilson\nPurlie Victorious- Ossie Davis\n1940's Radio Hour- Walton Jones\nA Raisin In The Sun- Lorraine Hansberry\nRemembrance \u0026 Pantomime- Derek Walcott\nRiff Raff- Laurence Fishburne\nThe Rise-Charles H. Fuller\nSeven Guitars- August Wilson\nThe Sirens- Richard Wesley\nA Soldier's Play- Charles Fuller\nSugar in the Raw- Rebecca Carroll\n10 Short Plays edited by Jerry Weiss\nTiger at the Gates translated by Christopher Fry\nTime Limit!- Henry Denker and Ralph Berkey\nTo Be Young, Gifted and Black A Portrait of Lorraine Hansberry adapted by Robert Nemiroff\nTradition An Anthology Of Young Black Writers-Kevin Powell and Ras Baraka\nTrials of Brother Jero and the Strong Breed- Wole Soyinka\nTwo Trains Running- August Wilson\nUp On the Downside-Layding Lumumba Kaliba\nWhat the Wine-Seller Buy Ron Milner\nWit- Margaret Edson\nWoza Albert!- Mtwa/Ngema/Simon\nZooman and the Sign- Charles Fuller","The Art of Western Africa\nThe Illustrated Encyclopedia of Black Music"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["McClintock, Ernie"],"names_coll_ssim":["McClintock, Ernie"],"names_ssim":["Albert and Shirley Small Special Collections Library","McClintock, Ernie"],"language_ssim":["English"],"total_component_count_is":659,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:40:42.029Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1595"}},{"id":"wvmturhc_repositories_2_resources_6907","type":"collection","attributes":{"title":"Katherine G. Johnson, Mathematician, Papers, 1800/2024, bulk 2016/2021","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6907#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003ePapers of Katherine G. Johnson. Includes assorted artifacts, family photographs, awards, honorary degrees, correspondence, and other material regarding the career and life of Katherine G. Johnson. The bulk of the collection is focused on material relating to the release of the 2016 film \u003cspan\u003eHidden Figures\u003c/span\u003e while other material details Katherine Johnson's early life and her family history. Such material includes news clippings, magazine articles, and fan mail to Katherine G. Johnson.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6907#breadcrumbs","type":"document_value","attributes":{"value":{"id":"wvmturhc_repositories_2_resources_6907","ead_ssi":"wvmturhc_repositories_2_resources_6907","_root_":"wvmturhc_repositories_2_resources_6907","_nest_parent_":"wvmturhc_repositories_2_resources_6907","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6907.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/209608","title_ssm":["Katherine G. Johnson, Mathematician, Papers"],"title_tesim":["Katherine G. Johnson, Mathematician, Papers"],"unitdate_ssm":["1800-2024","2016-2021"],"unitdate_inclusive_ssm":["1800-2024"],"unitdate_bulk_ssim":["2016-2021"],"normalized_date_ssm":["1800/2024, bulk 2016/2021"],"normalized_title_ssm":["Katherine G. Johnson, Mathematician, Papers, 1800/2024, bulk 2016/2021"],"text":["Katherine G. Johnson, Mathematician, Papers, 1800/2024, bulk 2016/2021","A\u0026M 4536","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6907","Women -- United States -- History","African Americans","Mathematics","No special access restriction applies.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","Katherine Goble Johnson was born in White Sulphur Springs, West Virginia on August 26, 1918. Born Creola Katherine Coleman to parents Joylette Roberta and Joshua McKinley Coleman, she was the youngest of four children. Excelling at mathematics from an early age, Katherine and her family moved to Institute, West Virginia in order for Katherine to attend high school on the campus of West Virginia State University (WVSU). Graduating from high school at the age of 14, Johnson immediately enrolled at WVSU to pursue higher education. At the age of 18 she graduated summa cum laude in 1937 with a double major in mathematics and French. Finding few opportunities for an African-American teenage mathematician she eventually took a job as a schoolteacher in Marion, Virginia.","After marrying her first husband, James Goble, in 1939 Katherine was selected by the president of WVSU to be one of three African Americans to integrate West Virginia University (WVU) following Governor Homer Holt's decision to desegregate public graduate schools in West Virginia. Becoming the first African-American woman to be accepted into WVU's graduate program, Johnson withdrew from classes after discovering she was pregnant, settling into motherhood and her career as a teacher over the next decade.","In 1952, after hearing from a relative about jobs working with the all-black West Area computing section at the National Advisory Committee for Aeronautics (NACA) Langley laboratory under the instruction of fellow West Virginian Dorothy Vaughan, Katherine and James moved to Newport News, Virginia and Johnson began working at Langley in the summer of 1953. First assigned to a project in the Maneuver Loads Branch of the Flight Research Division, her temporary position quickly turned permanent.","Johnson helped provide some of the math for the 1958 document Notes on Space Technology. As NACA transformed in the National Aeronautics and Space Administration (NASA), Johnson continued to provide groundbreaking work including trajectory analysis for the 1961 Freedom 7 mission with Alan Shepard, America's first human spaceflight. Her and engineer Ted Skopinski's Determination of Azimuth Angle at Burnout for Placing a Satellite Over a Selected Earth Position was the first time a woman in the Flight Research Division received credit as an author of a research report.","Over the course of her career with NASA Johnson assisted with a variety of pioneering space flight missions. She verified the flight plan of John Glenn prior to his historic orbit of the Earth in 1961, in 1969 she was part of the team that calculated where and when to launch the rocket for the Apollo 11 mission that sent the first humans to the Moon, as well as working on the space shuttle program, and authoring/coauthoring 26 research reports. Katherine Johnson retired from NASA in 1986 after 33 years at the Langley facility.","Over the years Johnson received numerous awards and recognitions for her contributions to space flight. In 2015, she was awarded the Presidential Medal of Freedom by President Barack Obama, the highest civilian award in the United States. In 2016, NASA named the Katherine G. Johnson Computational Research Facility after her. Also in 2016, Margot Lee Shetterly published Hidden Figures: The American Dream and The Untold Story of the Black Women Mathematicians Who Helped Win the Space Race, a book about the West Area computers, including Katherine Johnson, Dorothy Vaughan, and Mary Jackson. A film based on the book and having the same title was released that same year with the movie being nominated for Best Picture at the 89th Academy Awards.","Katherine Johnson passed away on February 24, 2020 at the age of 101 at a retirement home in Newport News, Virginia. She was preceded in death by her second husband Jim Johnson in 2019, whom she married in 1959 after the death of her first husband in 1956. A memoir, My Remarkable Journey, co-written by Johnson and her daughters, Joylette Hylick and Katherine Moore, was published posthumously in 2021.","Papers of Katherine G. Johnson. Includes assorted artifacts, family photographs, awards, honorary degrees, correspondence, and other material regarding the career and life of Katherine G. Johnson. The bulk of the collection is focused on material relating to the release of the 2016 film Hidden Figures while other material details Katherine Johnson's early life and her family history. Such material includes news clippings, magazine articles, and fan mail to Katherine G. Johnson.","Permission to publish or reproduce is required from the copyright holder. Copyright for photographs of Katherine Johnson for Vanity Fair magazine is not owned by the West Virginia and Regional History Center. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center","West Virginia and Regional History Center","English\n."],"collection_title_tesim":["Katherine G. Johnson, Mathematician, Papers, 1800/2024, bulk 2016/2021"],"collection_ssim":["Katherine G. 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Copyright for photographs of Katherine Johnson for Vanity Fair magazine is not owned by the West Virginia and Regional History Center. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Joylette G. Hylick and Katherine G. Moore, 2021-2022."],"access_subjects_ssim":["Women -- United States -- History","African Americans","Mathematics"],"access_subjects_ssm":["Women -- United States -- History","African Americans","Mathematics"],"has_online_content_ssim":["false"],"extent_ssm":["11.89 Linear Feet 7 record cartons, 15 in. each; 1 flat storage box, 4 in.; 1 flat storage box, 3.5 in.; 7 flat storage boxes, 3 in. each; 2 flat storage boxes, 1.5 in. each; 1 roll tube box, 4 in.; 3 unboxed items, 2.25 in. total","4.8 Gigabytes 448 files, formats include .jpg, .gif, .png, .pdf, .mp3, .ppt, .iso, .cue, .md5"],"extent_tesim":["11.89 Linear Feet 7 record cartons, 15 in. each; 1 flat storage box, 4 in.; 1 flat storage box, 3.5 in.; 7 flat storage boxes, 3 in. each; 2 flat storage boxes, 1.5 in. each; 1 roll tube box, 4 in.; 3 unboxed items, 2.25 in. total","4.8 Gigabytes 448 files, formats include .jpg, .gif, .png, .pdf, .mp3, .ppt, .iso, .cue, .md5"],"date_range_isim":[1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e","\u003cp\u003eResearchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003eWest Virginia \u0026amp; Regional History Center reference department\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department."],"bioghist_html_tesm":["\u003cp\u003eKatherine Goble Johnson was born in White Sulphur Springs, West Virginia on August 26, 1918. Born Creola Katherine Coleman to parents Joylette Roberta and Joshua McKinley Coleman, she was the youngest of four children. Excelling at mathematics from an early age, Katherine and her family moved to Institute, West Virginia in order for Katherine to attend high school on the campus of West Virginia State University (WVSU). Graduating from high school at the age of 14, Johnson immediately enrolled at WVSU to pursue higher education. At the age of 18 she graduated \u003cemph\u003esumma cum laude\u003c/emph\u003e in 1937 with a double major in mathematics and French. Finding few opportunities for an African-American teenage mathematician she eventually took a job as a schoolteacher in Marion, Virginia.\u003c/p\u003e","\u003cp\u003eAfter marrying her first husband, James Goble, in 1939 Katherine was selected by the president of WVSU to be one of three African Americans to integrate West Virginia University (WVU) following Governor Homer Holt's decision to desegregate public graduate schools in West Virginia. Becoming the first African-American woman to be accepted into WVU's graduate program, Johnson withdrew from classes after discovering she was pregnant, settling into motherhood and her career as a teacher over the next decade.\u003c/p\u003e","\u003cp\u003eIn 1952, after hearing from a relative about jobs working with the all-black West Area computing section at the National Advisory Committee for Aeronautics (NACA) Langley laboratory under the instruction of fellow West Virginian Dorothy Vaughan, Katherine and James moved to Newport News, Virginia and Johnson began working at Langley in the summer of 1953. First assigned to a project in the Maneuver Loads Branch of the Flight Research Division, her temporary position quickly turned permanent.\u003c/p\u003e","\u003cp\u003eJohnson helped provide some of the math for the 1958 document \u003ctitle\u003e\u003cpart\u003eNotes on Space Technology\u003c/part\u003e\u003c/title\u003e. As NACA transformed in the National Aeronautics and Space Administration (NASA), Johnson continued to provide groundbreaking work including trajectory analysis for the 1961 Freedom 7 mission with Alan Shepard, America's first human spaceflight. Her and engineer Ted Skopinski's \u003ctitle\u003e\u003cpart\u003eDetermination of Azimuth Angle at Burnout for Placing a Satellite Over a Selected Earth Position\u003c/part\u003e\u003c/title\u003e was the first time a woman in the Flight Research Division received credit as an author of a research report. \u003c/p\u003e","\u003cp\u003eOver the course of her career with NASA Johnson assisted with a variety of pioneering space flight missions. She verified the flight plan of John Glenn prior to his historic orbit of the Earth in 1961, in 1969 she was part of the team that calculated where and when to launch the rocket for the Apollo 11 mission that sent the first humans to the Moon, as well as working on the space shuttle program, and authoring/coauthoring 26 research reports. Katherine Johnson retired from NASA in 1986 after 33 years at the Langley facility.\u003c/p\u003e","\u003cp\u003eOver the years Johnson received numerous awards and recognitions for her contributions to space flight. In 2015, she was awarded the Presidential Medal of Freedom by President Barack Obama, the highest civilian award in the United States. In 2016, NASA named the Katherine G. Johnson Computational Research Facility after her. Also in 2016, Margot Lee Shetterly published \u003ctitle\u003e\u003cpart\u003eHidden Figures: The American Dream and The Untold Story of the Black Women Mathematicians Who Helped Win the Space Race\u003c/part\u003e\u003c/title\u003e, a book about the West Area computers, including Katherine Johnson, Dorothy Vaughan, and Mary Jackson. A film based on the book and having the same title was released that same year with the movie being nominated for Best Picture at the 89th Academy Awards.\u003c/p\u003e","\u003cp\u003eKatherine Johnson passed away on February 24, 2020 at the age of 101 at a retirement home in Newport News, Virginia. She was preceded in death by her second husband Jim Johnson in 2019, whom she married in 1959 after the death of her first husband in 1956. A memoir, \u003ctitle\u003e\u003cpart\u003eMy Remarkable Journey\u003c/part\u003e\u003c/title\u003e, co-written by Johnson and her daughters, Joylette Hylick and Katherine Moore, was published posthumously in 2021.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Katherine Goble Johnson was born in White Sulphur Springs, West Virginia on August 26, 1918. Born Creola Katherine Coleman to parents Joylette Roberta and Joshua McKinley Coleman, she was the youngest of four children. Excelling at mathematics from an early age, Katherine and her family moved to Institute, West Virginia in order for Katherine to attend high school on the campus of West Virginia State University (WVSU). Graduating from high school at the age of 14, Johnson immediately enrolled at WVSU to pursue higher education. At the age of 18 she graduated summa cum laude in 1937 with a double major in mathematics and French. Finding few opportunities for an African-American teenage mathematician she eventually took a job as a schoolteacher in Marion, Virginia.","After marrying her first husband, James Goble, in 1939 Katherine was selected by the president of WVSU to be one of three African Americans to integrate West Virginia University (WVU) following Governor Homer Holt's decision to desegregate public graduate schools in West Virginia. Becoming the first African-American woman to be accepted into WVU's graduate program, Johnson withdrew from classes after discovering she was pregnant, settling into motherhood and her career as a teacher over the next decade.","In 1952, after hearing from a relative about jobs working with the all-black West Area computing section at the National Advisory Committee for Aeronautics (NACA) Langley laboratory under the instruction of fellow West Virginian Dorothy Vaughan, Katherine and James moved to Newport News, Virginia and Johnson began working at Langley in the summer of 1953. First assigned to a project in the Maneuver Loads Branch of the Flight Research Division, her temporary position quickly turned permanent.","Johnson helped provide some of the math for the 1958 document Notes on Space Technology. As NACA transformed in the National Aeronautics and Space Administration (NASA), Johnson continued to provide groundbreaking work including trajectory analysis for the 1961 Freedom 7 mission with Alan Shepard, America's first human spaceflight. Her and engineer Ted Skopinski's Determination of Azimuth Angle at Burnout for Placing a Satellite Over a Selected Earth Position was the first time a woman in the Flight Research Division received credit as an author of a research report.","Over the course of her career with NASA Johnson assisted with a variety of pioneering space flight missions. She verified the flight plan of John Glenn prior to his historic orbit of the Earth in 1961, in 1969 she was part of the team that calculated where and when to launch the rocket for the Apollo 11 mission that sent the first humans to the Moon, as well as working on the space shuttle program, and authoring/coauthoring 26 research reports. Katherine Johnson retired from NASA in 1986 after 33 years at the Langley facility.","Over the years Johnson received numerous awards and recognitions for her contributions to space flight. In 2015, she was awarded the Presidential Medal of Freedom by President Barack Obama, the highest civilian award in the United States. In 2016, NASA named the Katherine G. Johnson Computational Research Facility after her. Also in 2016, Margot Lee Shetterly published Hidden Figures: The American Dream and The Untold Story of the Black Women Mathematicians Who Helped Win the Space Race, a book about the West Area computers, including Katherine Johnson, Dorothy Vaughan, and Mary Jackson. A film based on the book and having the same title was released that same year with the movie being nominated for Best Picture at the 89th Academy Awards.","Katherine Johnson passed away on February 24, 2020 at the age of 101 at a retirement home in Newport News, Virginia. She was preceded in death by her second husband Jim Johnson in 2019, whom she married in 1959 after the death of her first husband in 1956. A memoir, My Remarkable Journey, co-written by Johnson and her daughters, Joylette Hylick and Katherine Moore, was published posthumously in 2021."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Katherine G. Johnson, Mathematician, Papers, A\u0026amp;M 4536, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e  "],"prefercite_tesim":["[Description and date of item], [Box/folder number], Katherine G. Johnson, Mathematician, Papers, A\u0026M 4536, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003ePapers of Katherine G. Johnson. Includes assorted artifacts, family photographs, awards, honorary degrees, correspondence, and other material regarding the career and life of Katherine G. Johnson. The bulk of the collection is focused on material relating to the release of the 2016 film \u003ctitle\u003e\u003cpart\u003eHidden Figures\u003c/part\u003e\u003c/title\u003e while other material details Katherine Johnson's early life and her family history. Such material includes news clippings, magazine articles, and fan mail to Katherine G. Johnson.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Papers of Katherine G. Johnson. Includes assorted artifacts, family photographs, awards, honorary degrees, correspondence, and other material regarding the career and life of Katherine G. Johnson. The bulk of the collection is focused on material relating to the release of the 2016 film Hidden Figures while other material details Katherine Johnson's early life and her family history. Such material includes news clippings, magazine articles, and fan mail to Katherine G. Johnson."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. Copyright for photographs of Katherine Johnson for Vanity Fair magazine is not owned by the West Virginia and Regional History Center. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. Copyright for photographs of Katherine Johnson for Vanity Fair magazine is not owned by the West Virginia and Regional History Center. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_8e0ff43f3887e0be43707b95c6c03073\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: \u003ca href=\"https://wvrhc.lib.wvu.edu/\"\u003eWest Virginia \u0026amp; Regional History Center\u003c/a\u003e\u003c/physloc\u003e\n    "],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. 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Johnson, Mathematician, Papers, 1800/2024, bulk 2016/2021","A\u0026M 4536","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6907","Women -- United States -- History","African Americans","Mathematics","No special access restriction applies.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department.","Katherine Goble Johnson was born in White Sulphur Springs, West Virginia on August 26, 1918. Born Creola Katherine Coleman to parents Joylette Roberta and Joshua McKinley Coleman, she was the youngest of four children. Excelling at mathematics from an early age, Katherine and her family moved to Institute, West Virginia in order for Katherine to attend high school on the campus of West Virginia State University (WVSU). Graduating from high school at the age of 14, Johnson immediately enrolled at WVSU to pursue higher education. At the age of 18 she graduated summa cum laude in 1937 with a double major in mathematics and French. Finding few opportunities for an African-American teenage mathematician she eventually took a job as a schoolteacher in Marion, Virginia.","After marrying her first husband, James Goble, in 1939 Katherine was selected by the president of WVSU to be one of three African Americans to integrate West Virginia University (WVU) following Governor Homer Holt's decision to desegregate public graduate schools in West Virginia. Becoming the first African-American woman to be accepted into WVU's graduate program, Johnson withdrew from classes after discovering she was pregnant, settling into motherhood and her career as a teacher over the next decade.","In 1952, after hearing from a relative about jobs working with the all-black West Area computing section at the National Advisory Committee for Aeronautics (NACA) Langley laboratory under the instruction of fellow West Virginian Dorothy Vaughan, Katherine and James moved to Newport News, Virginia and Johnson began working at Langley in the summer of 1953. First assigned to a project in the Maneuver Loads Branch of the Flight Research Division, her temporary position quickly turned permanent.","Johnson helped provide some of the math for the 1958 document Notes on Space Technology. As NACA transformed in the National Aeronautics and Space Administration (NASA), Johnson continued to provide groundbreaking work including trajectory analysis for the 1961 Freedom 7 mission with Alan Shepard, America's first human spaceflight. Her and engineer Ted Skopinski's Determination of Azimuth Angle at Burnout for Placing a Satellite Over a Selected Earth Position was the first time a woman in the Flight Research Division received credit as an author of a research report.","Over the course of her career with NASA Johnson assisted with a variety of pioneering space flight missions. She verified the flight plan of John Glenn prior to his historic orbit of the Earth in 1961, in 1969 she was part of the team that calculated where and when to launch the rocket for the Apollo 11 mission that sent the first humans to the Moon, as well as working on the space shuttle program, and authoring/coauthoring 26 research reports. Katherine Johnson retired from NASA in 1986 after 33 years at the Langley facility.","Over the years Johnson received numerous awards and recognitions for her contributions to space flight. In 2015, she was awarded the Presidential Medal of Freedom by President Barack Obama, the highest civilian award in the United States. In 2016, NASA named the Katherine G. Johnson Computational Research Facility after her. Also in 2016, Margot Lee Shetterly published Hidden Figures: The American Dream and The Untold Story of the Black Women Mathematicians Who Helped Win the Space Race, a book about the West Area computers, including Katherine Johnson, Dorothy Vaughan, and Mary Jackson. A film based on the book and having the same title was released that same year with the movie being nominated for Best Picture at the 89th Academy Awards.","Katherine Johnson passed away on February 24, 2020 at the age of 101 at a retirement home in Newport News, Virginia. She was preceded in death by her second husband Jim Johnson in 2019, whom she married in 1959 after the death of her first husband in 1956. A memoir, My Remarkable Journey, co-written by Johnson and her daughters, Joylette Hylick and Katherine Moore, was published posthumously in 2021.","Papers of Katherine G. Johnson. Includes assorted artifacts, family photographs, awards, honorary degrees, correspondence, and other material regarding the career and life of Katherine G. Johnson. The bulk of the collection is focused on material relating to the release of the 2016 film Hidden Figures while other material details Katherine Johnson's early life and her family history. Such material includes news clippings, magazine articles, and fan mail to Katherine G. Johnson.","Permission to publish or reproduce is required from the copyright holder. Copyright for photographs of Katherine Johnson for Vanity Fair magazine is not owned by the West Virginia and Regional History Center. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center","West Virginia and Regional History Center","English\n."],"collection_title_tesim":["Katherine G. Johnson, Mathematician, Papers, 1800/2024, bulk 2016/2021"],"collection_ssim":["Katherine G. 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Copyright for photographs of Katherine Johnson for Vanity Fair magazine is not owned by the West Virginia and Regional History Center. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Joylette G. Hylick and Katherine G. Moore, 2021-2022."],"access_subjects_ssim":["Women -- United States -- History","African Americans","Mathematics"],"access_subjects_ssm":["Women -- United States -- History","African Americans","Mathematics"],"has_online_content_ssim":["false"],"extent_ssm":["11.89 Linear Feet 7 record cartons, 15 in. each; 1 flat storage box, 4 in.; 1 flat storage box, 3.5 in.; 7 flat storage boxes, 3 in. each; 2 flat storage boxes, 1.5 in. each; 1 roll tube box, 4 in.; 3 unboxed items, 2.25 in. total","4.8 Gigabytes 448 files, formats include .jpg, .gif, .png, .pdf, .mp3, .ppt, .iso, .cue, .md5"],"extent_tesim":["11.89 Linear Feet 7 record cartons, 15 in. each; 1 flat storage box, 4 in.; 1 flat storage box, 3.5 in.; 7 flat storage boxes, 3 in. each; 2 flat storage boxes, 1.5 in. each; 1 roll tube box, 4 in.; 3 unboxed items, 2.25 in. total","4.8 Gigabytes 448 files, formats include .jpg, .gif, .png, .pdf, .mp3, .ppt, .iso, .cue, .md5"],"date_range_isim":[1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e","\u003cp\u003eResearchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the \u003ca href=\"https://westvirginia.libanswers.com/wvrhc\" target=\"_blank\"\u003eWest Virginia \u0026amp; Regional History Center reference department\u003c/a\u003e.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department."],"bioghist_html_tesm":["\u003cp\u003eKatherine Goble Johnson was born in White Sulphur Springs, West Virginia on August 26, 1918. Born Creola Katherine Coleman to parents Joylette Roberta and Joshua McKinley Coleman, she was the youngest of four children. Excelling at mathematics from an early age, Katherine and her family moved to Institute, West Virginia in order for Katherine to attend high school on the campus of West Virginia State University (WVSU). Graduating from high school at the age of 14, Johnson immediately enrolled at WVSU to pursue higher education. At the age of 18 she graduated \u003cemph\u003esumma cum laude\u003c/emph\u003e in 1937 with a double major in mathematics and French. Finding few opportunities for an African-American teenage mathematician she eventually took a job as a schoolteacher in Marion, Virginia.\u003c/p\u003e","\u003cp\u003eAfter marrying her first husband, James Goble, in 1939 Katherine was selected by the president of WVSU to be one of three African Americans to integrate West Virginia University (WVU) following Governor Homer Holt's decision to desegregate public graduate schools in West Virginia. Becoming the first African-American woman to be accepted into WVU's graduate program, Johnson withdrew from classes after discovering she was pregnant, settling into motherhood and her career as a teacher over the next decade.\u003c/p\u003e","\u003cp\u003eIn 1952, after hearing from a relative about jobs working with the all-black West Area computing section at the National Advisory Committee for Aeronautics (NACA) Langley laboratory under the instruction of fellow West Virginian Dorothy Vaughan, Katherine and James moved to Newport News, Virginia and Johnson began working at Langley in the summer of 1953. First assigned to a project in the Maneuver Loads Branch of the Flight Research Division, her temporary position quickly turned permanent.\u003c/p\u003e","\u003cp\u003eJohnson helped provide some of the math for the 1958 document \u003ctitle\u003e\u003cpart\u003eNotes on Space Technology\u003c/part\u003e\u003c/title\u003e. As NACA transformed in the National Aeronautics and Space Administration (NASA), Johnson continued to provide groundbreaking work including trajectory analysis for the 1961 Freedom 7 mission with Alan Shepard, America's first human spaceflight. Her and engineer Ted Skopinski's \u003ctitle\u003e\u003cpart\u003eDetermination of Azimuth Angle at Burnout for Placing a Satellite Over a Selected Earth Position\u003c/part\u003e\u003c/title\u003e was the first time a woman in the Flight Research Division received credit as an author of a research report. \u003c/p\u003e","\u003cp\u003eOver the course of her career with NASA Johnson assisted with a variety of pioneering space flight missions. She verified the flight plan of John Glenn prior to his historic orbit of the Earth in 1961, in 1969 she was part of the team that calculated where and when to launch the rocket for the Apollo 11 mission that sent the first humans to the Moon, as well as working on the space shuttle program, and authoring/coauthoring 26 research reports. Katherine Johnson retired from NASA in 1986 after 33 years at the Langley facility.\u003c/p\u003e","\u003cp\u003eOver the years Johnson received numerous awards and recognitions for her contributions to space flight. In 2015, she was awarded the Presidential Medal of Freedom by President Barack Obama, the highest civilian award in the United States. In 2016, NASA named the Katherine G. Johnson Computational Research Facility after her. Also in 2016, Margot Lee Shetterly published \u003ctitle\u003e\u003cpart\u003eHidden Figures: The American Dream and The Untold Story of the Black Women Mathematicians Who Helped Win the Space Race\u003c/part\u003e\u003c/title\u003e, a book about the West Area computers, including Katherine Johnson, Dorothy Vaughan, and Mary Jackson. A film based on the book and having the same title was released that same year with the movie being nominated for Best Picture at the 89th Academy Awards.\u003c/p\u003e","\u003cp\u003eKatherine Johnson passed away on February 24, 2020 at the age of 101 at a retirement home in Newport News, Virginia. She was preceded in death by her second husband Jim Johnson in 2019, whom she married in 1959 after the death of her first husband in 1956. A memoir, \u003ctitle\u003e\u003cpart\u003eMy Remarkable Journey\u003c/part\u003e\u003c/title\u003e, co-written by Johnson and her daughters, Joylette Hylick and Katherine Moore, was published posthumously in 2021.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Katherine Goble Johnson was born in White Sulphur Springs, West Virginia on August 26, 1918. Born Creola Katherine Coleman to parents Joylette Roberta and Joshua McKinley Coleman, she was the youngest of four children. Excelling at mathematics from an early age, Katherine and her family moved to Institute, West Virginia in order for Katherine to attend high school on the campus of West Virginia State University (WVSU). Graduating from high school at the age of 14, Johnson immediately enrolled at WVSU to pursue higher education. At the age of 18 she graduated summa cum laude in 1937 with a double major in mathematics and French. Finding few opportunities for an African-American teenage mathematician she eventually took a job as a schoolteacher in Marion, Virginia.","After marrying her first husband, James Goble, in 1939 Katherine was selected by the president of WVSU to be one of three African Americans to integrate West Virginia University (WVU) following Governor Homer Holt's decision to desegregate public graduate schools in West Virginia. Becoming the first African-American woman to be accepted into WVU's graduate program, Johnson withdrew from classes after discovering she was pregnant, settling into motherhood and her career as a teacher over the next decade.","In 1952, after hearing from a relative about jobs working with the all-black West Area computing section at the National Advisory Committee for Aeronautics (NACA) Langley laboratory under the instruction of fellow West Virginian Dorothy Vaughan, Katherine and James moved to Newport News, Virginia and Johnson began working at Langley in the summer of 1953. First assigned to a project in the Maneuver Loads Branch of the Flight Research Division, her temporary position quickly turned permanent.","Johnson helped provide some of the math for the 1958 document Notes on Space Technology. As NACA transformed in the National Aeronautics and Space Administration (NASA), Johnson continued to provide groundbreaking work including trajectory analysis for the 1961 Freedom 7 mission with Alan Shepard, America's first human spaceflight. Her and engineer Ted Skopinski's Determination of Azimuth Angle at Burnout for Placing a Satellite Over a Selected Earth Position was the first time a woman in the Flight Research Division received credit as an author of a research report.","Over the course of her career with NASA Johnson assisted with a variety of pioneering space flight missions. She verified the flight plan of John Glenn prior to his historic orbit of the Earth in 1961, in 1969 she was part of the team that calculated where and when to launch the rocket for the Apollo 11 mission that sent the first humans to the Moon, as well as working on the space shuttle program, and authoring/coauthoring 26 research reports. Katherine Johnson retired from NASA in 1986 after 33 years at the Langley facility.","Over the years Johnson received numerous awards and recognitions for her contributions to space flight. In 2015, she was awarded the Presidential Medal of Freedom by President Barack Obama, the highest civilian award in the United States. In 2016, NASA named the Katherine G. Johnson Computational Research Facility after her. Also in 2016, Margot Lee Shetterly published Hidden Figures: The American Dream and The Untold Story of the Black Women Mathematicians Who Helped Win the Space Race, a book about the West Area computers, including Katherine Johnson, Dorothy Vaughan, and Mary Jackson. A film based on the book and having the same title was released that same year with the movie being nominated for Best Picture at the 89th Academy Awards.","Katherine Johnson passed away on February 24, 2020 at the age of 101 at a retirement home in Newport News, Virginia. She was preceded in death by her second husband Jim Johnson in 2019, whom she married in 1959 after the death of her first husband in 1956. A memoir, My Remarkable Journey, co-written by Johnson and her daughters, Joylette Hylick and Katherine Moore, was published posthumously in 2021."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Katherine G. Johnson, Mathematician, Papers, A\u0026amp;M 4536, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e  "],"prefercite_tesim":["[Description and date of item], [Box/folder number], Katherine G. Johnson, Mathematician, Papers, A\u0026M 4536, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003ePapers of Katherine G. Johnson. Includes assorted artifacts, family photographs, awards, honorary degrees, correspondence, and other material regarding the career and life of Katherine G. Johnson. The bulk of the collection is focused on material relating to the release of the 2016 film \u003ctitle\u003e\u003cpart\u003eHidden Figures\u003c/part\u003e\u003c/title\u003e while other material details Katherine Johnson's early life and her family history. Such material includes news clippings, magazine articles, and fan mail to Katherine G. Johnson.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Papers of Katherine G. Johnson. Includes assorted artifacts, family photographs, awards, honorary degrees, correspondence, and other material regarding the career and life of Katherine G. Johnson. The bulk of the collection is focused on material relating to the release of the 2016 film Hidden Figures while other material details Katherine Johnson's early life and her family history. Such material includes news clippings, magazine articles, and fan mail to Katherine G. Johnson."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. Copyright for photographs of Katherine Johnson for Vanity Fair magazine is not owned by the West Virginia and Regional History Center. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. Copyright for photographs of Katherine Johnson for Vanity Fair magazine is not owned by the West Virginia and Regional History Center. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_8e0ff43f3887e0be43707b95c6c03073\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: \u003ca href=\"https://wvrhc.lib.wvu.edu/\"\u003eWest Virginia \u0026amp; Regional History Center\u003c/a\u003e\u003c/physloc\u003e\n    "],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: West Virginia \u0026 Regional History Center"],"corpname_ssim":["West Virginia and Regional History Center"],"names_ssim":["West Virginia and Regional History Center"],"language_ssim":["English\n."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":135,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:59:18.354Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6907"}},{"id":"viw_repositories_2_resources_2317","type":"collection","attributes":{"title":"Leonard Born Papers, 1924/1985","creator":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_2317#creator","type":"document_value","attributes":{"value":"Born, Leonard L.","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_2317#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe collection includes papers written by Born during the course of his attendance at William \u0026amp; Mary, mainly for English classes. There is also correspondence from 1985 and loose pages from a photo album believed to have been assembled by Born, while a student at William \u0026amp; Mary. The contents are primarily photographs of campus and Williamsburg area from the 1926-1927. Additional photographs relate to life in rural, early twentieth century Virginia, the Newport News Shipyard, Carter's Grove Plantation, and the myths of Blackbeard. Also includes some photographs of locations outside of Williamsburg such as Mount Vernon and New York City.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_2317#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_2317","ead_ssi":"viw_repositories_2_resources_2317","_root_":"viw_repositories_2_resources_2317","_nest_parent_":"viw_repositories_2_resources_2317","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_2317.xml","title_filing_ssi":"Born, Leonard L. Papers","title_ssm":["Leonard Born Papers"],"title_tesim":["Leonard Born Papers"],"unitdate_ssm":["1924-1927, 1985"],"unitdate_inclusive_ssm":["1924-1927, 1985"],"normalized_date_ssm":["1924/1985"],"normalized_title_ssm":["Leonard Born Papers, 1924/1985"],"text":["Leonard Born Papers, 1924/1985","UA 5.048","/repositories/2/resources/2317","Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Photographs","Yorktown (Va.)--History--20th century","Jamestown (Va.)--History--20th century","African Americans","College of William and Mary--History--20th century","College of William and Mary--Students--Social life and customs","Course work","Photographs","Reminiscences","This collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Leonard L. Born was a student at William and Mary from 1923-1927.","A portion of this collection was removed from the University Archives Faculty-Alumni File Collection in 2016.","The collection includes papers written by Born during the course of his attendance at William \u0026 Mary, mainly for English classes.  There is also correspondence from 1985 and loose pages from a photo album believed to have been assembled by Born, while a student at William \u0026 Mary. The contents are primarily photographs of campus and Williamsburg area from the 1926-1927. Additional photographs relate to life in rural, early twentieth century Virginia, the Newport News Shipyard, Carter's Grove Plantation, and the myths of Blackbeard. Also includes some photographs of locations outside of Williamsburg such as Mount Vernon and New York City.","Also added is the typescript for his article published in The Alumni Gazette in May, 1968 titled \"The College Then: 'To see what 40 years had wrought' [An alumnus reminisces on the late 20s].\"  Also contains personal letters received from European and American institutions and others regarding his travels and research interests in Europe and in the architecture and history of William \u0026 Mary, and his particular interest in an Irish well cover of St. Patrick's.  There is also a 1985 letter from Exxon Company, U.S.A., denying Mr. Born's proposal to mine iron ore and coal in Columbia.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","College of William and Mary--Alumni and alumnae","Born, Leonard L.","English"],"collection_title_tesim":["Leonard Born Papers, 1924/1985"],"collection_ssim":["Leonard Born Papers, 1924/1985"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 5.048","/repositories/2/resources/2317"],"unitid_tesim":["UA 5.048","/repositories/2/resources/2317"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Photographs","Yorktown (Va.)--History--20th century","Jamestown (Va.)--History--20th century"],"geogname_ssim":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Photographs","Yorktown (Va.)--History--20th century","Jamestown (Va.)--History--20th century"],"places_ssim":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Photographs","Yorktown (Va.)--History--20th century","Jamestown (Va.)--History--20th century"],"creator_ssm":["Born, Leonard L."],"creator_ssim":["Born, Leonard L."],"creator_persname_ssim":["Born, Leonard L."],"creator_corpname_ssim":["Special Collections Research Center","College of William and Mary--Alumni and alumnae"],"creators_ssim":["Born, Leonard L.","Special Collections Research Center","College of William and Mary--Alumni and alumnae"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Acc. 1988.66 was received on 3/24/1988."],"access_subjects_ssim":["African Americans","College of William and Mary--History--20th century","College of William and Mary--Students--Social life and customs","Course work","Photographs","Reminiscences"],"access_subjects_ssm":["African Americans","College of William and Mary--History--20th century","College of William and Mary--Students--Social life and customs","Course work","Photographs","Reminiscences"],"has_online_content_ssim":["false"],"extent_ssm":["0.25 Linear Feet"],"extent_tesim":["0.25 Linear Feet"],"genreform_ssim":["Course work","Photographs","Reminiscences"],"date_range_isim":[1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["This collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eLeonard L. Born was a student at William and Mary from 1923-1927.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Leonard L. Born was a student at William and Mary from 1923-1927."],"custodhist_html_tesm":["\u003cp\u003eA portion of this collection was removed from the University Archives Faculty-Alumni File Collection in 2016.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History:"],"custodhist_tesim":["A portion of this collection was removed from the University Archives Faculty-Alumni File Collection in 2016."],"prefercite_html_tesm":["\u003cp\u003eLeonard L. Born Papers, Special Collections Research Center, William \u0026amp; Mary Libraries\u003c/p\u003e  "],"prefercite_tesim":["Leonard L. Born Papers, Special Collections Research Center, William \u0026 Mary Libraries"],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes papers written by Born during the course of his attendance at William \u0026amp; Mary, mainly for English classes.  There is also correspondence from 1985 and loose pages from a photo album believed to have been assembled by Born, while a student at William \u0026amp; Mary. The contents are primarily photographs of campus and Williamsburg area from the 1926-1927. Additional photographs relate to life in rural, early twentieth century Virginia, the Newport News Shipyard, Carter's Grove Plantation, and the myths of Blackbeard. Also includes some photographs of locations outside of Williamsburg such as Mount Vernon and New York City.\u003c/p\u003e","\u003cp\u003eAlso added is the typescript for his article published in The Alumni Gazette in May, 1968 titled \"The College Then: 'To see what 40 years had wrought' [An alumnus reminisces on the late 20s].\"  Also contains personal letters received from European and American institutions and others regarding his travels and research interests in Europe and in the architecture and history of William \u0026amp; Mary, and his particular interest in an Irish well cover of St. Patrick's.  There is also a 1985 letter from Exxon Company, U.S.A., denying Mr. Born's proposal to mine iron ore and coal in Columbia.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes papers written by Born during the course of his attendance at William \u0026 Mary, mainly for English classes.  There is also correspondence from 1985 and loose pages from a photo album believed to have been assembled by Born, while a student at William \u0026 Mary. The contents are primarily photographs of campus and Williamsburg area from the 1926-1927. Additional photographs relate to life in rural, early twentieth century Virginia, the Newport News Shipyard, Carter's Grove Plantation, and the myths of Blackbeard. Also includes some photographs of locations outside of Williamsburg such as Mount Vernon and New York City.","Also added is the typescript for his article published in The Alumni Gazette in May, 1968 titled \"The College Then: 'To see what 40 years had wrought' [An alumnus reminisces on the late 20s].\"  Also contains personal letters received from European and American institutions and others regarding his travels and research interests in Europe and in the architecture and history of William \u0026 Mary, and his particular interest in an Irish well cover of St. Patrick's.  There is also a 1985 letter from Exxon Company, U.S.A., denying Mr. Born's proposal to mine iron ore and coal in Columbia."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center","College of William and Mary--Alumni and alumnae"],"names_coll_ssim":["College of William and Mary--Alumni and alumnae"],"persname_ssim":["Born, Leonard L."],"names_ssim":["Special Collections Research Center","College of William and Mary--Alumni and alumnae","Born, Leonard L."],"language_ssim":["English"],"total_component_count_is":12,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:48:27.958Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_2317","ead_ssi":"viw_repositories_2_resources_2317","_root_":"viw_repositories_2_resources_2317","_nest_parent_":"viw_repositories_2_resources_2317","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_2317.xml","title_filing_ssi":"Born, Leonard L. 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Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Leonard L. Born was a student at William and Mary from 1923-1927.","A portion of this collection was removed from the University Archives Faculty-Alumni File Collection in 2016.","The collection includes papers written by Born during the course of his attendance at William \u0026 Mary, mainly for English classes.  There is also correspondence from 1985 and loose pages from a photo album believed to have been assembled by Born, while a student at William \u0026 Mary. The contents are primarily photographs of campus and Williamsburg area from the 1926-1927. Additional photographs relate to life in rural, early twentieth century Virginia, the Newport News Shipyard, Carter's Grove Plantation, and the myths of Blackbeard. Also includes some photographs of locations outside of Williamsburg such as Mount Vernon and New York City.","Also added is the typescript for his article published in The Alumni Gazette in May, 1968 titled \"The College Then: 'To see what 40 years had wrought' [An alumnus reminisces on the late 20s].\"  Also contains personal letters received from European and American institutions and others regarding his travels and research interests in Europe and in the architecture and history of William \u0026 Mary, and his particular interest in an Irish well cover of St. Patrick's.  There is also a 1985 letter from Exxon Company, U.S.A., denying Mr. Born's proposal to mine iron ore and coal in Columbia.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","College of William and Mary--Alumni and alumnae","Born, Leonard L.","English"],"collection_title_tesim":["Leonard Born Papers, 1924/1985"],"collection_ssim":["Leonard Born Papers, 1924/1985"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 5.048","/repositories/2/resources/2317"],"unitid_tesim":["UA 5.048","/repositories/2/resources/2317"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Photographs","Yorktown (Va.)--History--20th century","Jamestown (Va.)--History--20th century"],"geogname_ssim":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Photographs","Yorktown (Va.)--History--20th century","Jamestown (Va.)--History--20th century"],"places_ssim":["Williamsburg (Va.)--History--20th century","Williamsburg (Va.)--Photographs","Yorktown (Va.)--History--20th century","Jamestown (Va.)--History--20th century"],"creator_ssm":["Born, Leonard L."],"creator_ssim":["Born, Leonard L."],"creator_persname_ssim":["Born, Leonard L."],"creator_corpname_ssim":["Special Collections Research Center","College of William and Mary--Alumni and alumnae"],"creators_ssim":["Born, Leonard L.","Special Collections Research Center","College of William and Mary--Alumni and alumnae"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Acc. 1988.66 was received on 3/24/1988."],"access_subjects_ssim":["African Americans","College of William and Mary--History--20th century","College of William and Mary--Students--Social life and customs","Course work","Photographs","Reminiscences"],"access_subjects_ssm":["African Americans","College of William and Mary--History--20th century","College of William and Mary--Students--Social life and customs","Course work","Photographs","Reminiscences"],"has_online_content_ssim":["false"],"extent_ssm":["0.25 Linear Feet"],"extent_tesim":["0.25 Linear Feet"],"genreform_ssim":["Course work","Photographs","Reminiscences"],"date_range_isim":[1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access:"],"accessrestrict_tesim":["This collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eLeonard L. Born was a student at William and Mary from 1923-1927.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical Information:"],"bioghist_tesim":["Leonard L. Born was a student at William and Mary from 1923-1927."],"custodhist_html_tesm":["\u003cp\u003eA portion of this collection was removed from the University Archives Faculty-Alumni File Collection in 2016.\u003c/p\u003e  "],"custodhist_heading_ssm":["Custodial History:"],"custodhist_tesim":["A portion of this collection was removed from the University Archives Faculty-Alumni File Collection in 2016."],"prefercite_html_tesm":["\u003cp\u003eLeonard L. Born Papers, Special Collections Research Center, William \u0026amp; Mary Libraries\u003c/p\u003e  "],"prefercite_tesim":["Leonard L. Born Papers, Special Collections Research Center, William \u0026 Mary Libraries"],"scopecontent_html_tesm":["\u003cp\u003eThe collection includes papers written by Born during the course of his attendance at William \u0026amp; Mary, mainly for English classes.  There is also correspondence from 1985 and loose pages from a photo album believed to have been assembled by Born, while a student at William \u0026amp; Mary. The contents are primarily photographs of campus and Williamsburg area from the 1926-1927. Additional photographs relate to life in rural, early twentieth century Virginia, the Newport News Shipyard, Carter's Grove Plantation, and the myths of Blackbeard. Also includes some photographs of locations outside of Williamsburg such as Mount Vernon and New York City.\u003c/p\u003e","\u003cp\u003eAlso added is the typescript for his article published in The Alumni Gazette in May, 1968 titled \"The College Then: 'To see what 40 years had wrought' [An alumnus reminisces on the late 20s].\"  Also contains personal letters received from European and American institutions and others regarding his travels and research interests in Europe and in the architecture and history of William \u0026amp; Mary, and his particular interest in an Irish well cover of St. Patrick's.  There is also a 1985 letter from Exxon Company, U.S.A., denying Mr. Born's proposal to mine iron ore and coal in Columbia.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The collection includes papers written by Born during the course of his attendance at William \u0026 Mary, mainly for English classes.  There is also correspondence from 1985 and loose pages from a photo album believed to have been assembled by Born, while a student at William \u0026 Mary. The contents are primarily photographs of campus and Williamsburg area from the 1926-1927. Additional photographs relate to life in rural, early twentieth century Virginia, the Newport News Shipyard, Carter's Grove Plantation, and the myths of Blackbeard. Also includes some photographs of locations outside of Williamsburg such as Mount Vernon and New York City.","Also added is the typescript for his article published in The Alumni Gazette in May, 1968 titled \"The College Then: 'To see what 40 years had wrought' [An alumnus reminisces on the late 20s].\"  Also contains personal letters received from European and American institutions and others regarding his travels and research interests in Europe and in the architecture and history of William \u0026 Mary, and his particular interest in an Irish well cover of St. Patrick's.  There is also a 1985 letter from Exxon Company, U.S.A., denying Mr. Born's proposal to mine iron ore and coal in Columbia."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use:"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center","College of William and Mary--Alumni and alumnae"],"names_coll_ssim":["College of William and Mary--Alumni and alumnae"],"persname_ssim":["Born, Leonard L."],"names_ssim":["Special Collections Research Center","College of William and Mary--Alumni and alumnae","Born, Leonard L."],"language_ssim":["English"],"total_component_count_is":12,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:48:27.958Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_2317"}},{"id":"viu_repositories_3_resources_998","type":"collection","attributes":{"title":"Nydrie and Algoma related papers, 1890/1989","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_998#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\" \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_998#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_998","ead_ssi":"viu_repositories_3_resources_998","_root_":"viu_repositories_3_resources_998","_nest_parent_":"viu_repositories_3_resources_998","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_998.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120861","title_filing_ssi":"Nydrie and Algoma related papers","title_ssm":["Nydrie and Algoma related papers"],"title_tesim":["Nydrie and Algoma related papers"],"unitdate_ssm":["circa 1862-2003"],"unitdate_inclusive_ssm":["circa 1862-2003"],"normalized_date_ssm":["1890/1989"],"normalized_title_ssm":["Nydrie and Algoma related papers, 1890/1989"],"text":["Nydrie and Algoma related papers, 1890/1989","MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998","Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876","African Americans","Scrapbooks","Black-and-white photographs","Fair to good.","This collection is open for research use.","This collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia.","\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members.","The Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.","The \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\"","There is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.","The link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is:","https://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing","This collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\"","The papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.","Also present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club .","Albert and Shirley Small Special Collections Library","Morrill, Lily Logan, 1877-1944","English"],"collection_title_tesim":["Nydrie and Algoma related papers, 1890/1989"],"collection_ssim":["Nydrie and Algoma related papers, 1890/1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998"],"unitid_tesim":["MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"geogname_ssim":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"places_ssim":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"creator_persname_ssim":["Morrill, Lily Logan, 1877-1944"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Morrill, Lily Logan, 1877-1944","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was given to the University of Virginia Special Collections Library on February 26, 2010, by Sarah Donnelly."],"access_subjects_ssim":["African Americans","Scrapbooks","Black-and-white photographs"],"access_subjects_ssm":["African Americans","Scrapbooks","Black-and-white photographs"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair to good."],"extent_ssm":["1 Cubic Feet 1 legal document box and 1 over size small flat box"],"extent_tesim":["1 Cubic Feet 1 legal document box and 1 over size small flat box"],"genreform_ssim":["Scrapbooks","Black-and-white photographs"],"date_range_isim":[1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eThis collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia. \u003c/p\u003e","\u003cp\u003e\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members. \u003c/p\u003e","\u003cp\u003eThe Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.\u003c/p\u003e","\u003cp\u003eThe \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\" \u003c/p\u003e","\u003cp\u003eThere is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.\u003c/p\u003e","\u003cp\u003eThe link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is: \u003c/p\u003e","\u003cp\u003ehttps://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["This collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia.","\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members.","The Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.","The \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\"","There is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.","The link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is:","https://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\" \u003c/p\u003e","\u003cp\u003eThe papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.\u003c/p\u003e","\u003cp\u003eAlso present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club . \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\"","The papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.","Also present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club ."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Morrill, Lily Logan, 1877-1944"],"names_coll_ssim":["Morrill, Lily Logan, 1877-1944"],"names_ssim":["Albert and Shirley Small Special Collections Library","Morrill, Lily Logan, 1877-1944"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":15,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:41:34.507Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_998","ead_ssi":"viu_repositories_3_resources_998","_root_":"viu_repositories_3_resources_998","_nest_parent_":"viu_repositories_3_resources_998","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_998.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/120861","title_filing_ssi":"Nydrie and Algoma related papers","title_ssm":["Nydrie and Algoma related papers"],"title_tesim":["Nydrie and Algoma related papers"],"unitdate_ssm":["circa 1862-2003"],"unitdate_inclusive_ssm":["circa 1862-2003"],"normalized_date_ssm":["1890/1989"],"normalized_title_ssm":["Nydrie and Algoma related papers, 1890/1989"],"text":["Nydrie and Algoma related papers, 1890/1989","MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998","Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876","African Americans","Scrapbooks","Black-and-white photographs","Fair to good.","This collection is open for research use.","This collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia.","\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members.","The Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.","The \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\"","There is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.","The link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is:","https://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing","This collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\"","The papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.","Also present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club .","Albert and Shirley Small Special Collections Library","Morrill, Lily Logan, 1877-1944","English"],"collection_title_tesim":["Nydrie and Algoma related papers, 1890/1989"],"collection_ssim":["Nydrie and Algoma related papers, 1890/1989"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998"],"unitid_tesim":["MSS .14956","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/3/resources/998"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"geogname_ssim":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"places_ssim":["Nydrie--Dwelling","Algoma--Dwelling","Thomas Muldrup Logan, 1808-1876"],"creator_persname_ssim":["Morrill, Lily Logan, 1877-1944"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Morrill, Lily Logan, 1877-1944","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was given to the University of Virginia Special Collections Library on February 26, 2010, by Sarah Donnelly."],"access_subjects_ssim":["African Americans","Scrapbooks","Black-and-white photographs"],"access_subjects_ssm":["African Americans","Scrapbooks","Black-and-white photographs"],"has_online_content_ssim":["false"],"physdesc_tesim":["Fair to good."],"extent_ssm":["1 Cubic Feet 1 legal document box and 1 over size small flat box"],"extent_tesim":["1 Cubic Feet 1 legal document box and 1 over size small flat box"],"genreform_ssim":["Scrapbooks","Black-and-white photographs"],"date_range_isim":[1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eThis collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia. \u003c/p\u003e","\u003cp\u003e\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members. \u003c/p\u003e","\u003cp\u003eThe Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.\u003c/p\u003e","\u003cp\u003eThe \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\" \u003c/p\u003e","\u003cp\u003eThere is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.\u003c/p\u003e","\u003cp\u003eThe link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is: \u003c/p\u003e","\u003cp\u003ehttps://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["This collection focuses on the two families that inhabited \"Nydrie,\" a farm located in Esmont, Virginia, and \"Algoma,\" a farm located in Buckingham County, Virginia.","\"Nydrie,\" located in Esmont, Virginia, was built in 1891 to resemble a Scottish castle and was owned by the Forsyth family. Members of this family include Harry Forsyth (1846-1902), a wealthy sugar broker who resided in Louisiana, and his wife, Sarah Rice Johnson Forsyth (1849-1920), their son, Douglas Forsyth (1875-1941), the children of Douglas Forsyth, Bucky Forsyth (1912-1980)and Sarah Forsyth Randolph (1912-1937), and various other family members.","The Forsyths were descended from William Forsyth (1812-1899), a conservative British member of parliament and lawyer who wrote several books about legal subjects. The land where the house was built was originally called the Tom Coles farm and was sold to the family in 1890. Douglas Forsyth eventually sold this mansion to Daniel Van Clief, a successful horse stud breeder, but it fell into disrepair and eventually was torn down in 1970. The Van Cliefs continued to own the land until 2008.","The \"Algoma farm,\" located in Buckingham, Virginia, was the summer home of Thomas Muldrup Logan and his family. Thomas Logan was a famous Confederate Brigadier General who served under Robert E. Lee, as well as a railway and business associate of John D. Rockefeller. About 1880, Thomas M. Logan bought the \"Hartsook Farm,\" and this land became the \"Algoma\" Farm. The \"Algoma Farm\" had several buildings on it including the \"Algoma\" house which was built in the 1880s, \"Axtell Academy,\" an educational school for women which was managed by his daughter Meta Cabell (1875-1904). The \"John Crews Farm\" was owned by Lena Logan (1879-1961), the wife of Douglas Forsyth, and \"Dungannon,\"  built as a summer home for Dr. H.D. Bruns and his wife, Katy Logan Bruns, was next to \"Algoma.\"","There is a book called the \"Algoma Log Book,\" deciphered by Elizabeth Scott, which gives an excellent record of the everyday activities of this house as well as the African Americans which worked for the family.","The link to the \"Algoma Log Book\" transcribed by Elizabeth Scott is:","https://drive.google.com/file/d/1zwWZLf51_snYjoOShPP7NcSh-dx6tZ49/view?usp=sharing"],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\" \u003c/p\u003e","\u003cp\u003eThe papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.\u003c/p\u003e","\u003cp\u003eAlso present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club . \u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of papers relating to Nydrie and Algoma, consisting chiefly of photographs and articles pertaining to the family homes of the Logan and Forsyth families. Included is a scrapbook of articles by Lily Logan Morrill.This collection contains material from around 1880, when the homes were built, to about 1960, when the Forsyth family, which owned \"Nydrie\" at the time, started a discussion about what to do with the house due to its dilapidated conditions. This collection focuses on two families, the Logans who owned \"Algoma,\" and the Forsyths who owned \"Nydrie.\"","The papers consists of various photographs of the family, drawings, and newspaper clippings about Thomas Muldrup Logan, a Confederate Brigadier General who served under Robert E. Lee, photographs of Lily Morrill (1877-1944) who owned  \"Enniscorthy,\" and photographs of the \"Enniscorthy plantation\" in the 1800s.","Also present are photographs and news clippings about Lily Morrill's daughter Elizabeth Morrill Holladay (1909-1996), a pilot who helped ferry planes during WWII, news clippings and information about Axtell Academy, Buckingham County, Virginia, a school for women which was run by Meta Logan Cabell, the daughter of Thomas M. Logan, and five scrapbooks labeled A through E which hold photographs of the families, writings by Lily Morrill, as well as some photographs of African Americans. There are also various photographs throughout the collection of both the inside and outside of the \"Nydrie\" and \"Algoma\" houses, photographs of Lily Logan at graduation, and photographs of the Green Mountain Hunt Club ."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Morrill, Lily Logan, 1877-1944"],"names_coll_ssim":["Morrill, Lily Logan, 1877-1944"],"names_ssim":["Albert and Shirley Small Special Collections Library","Morrill, Lily Logan, 1877-1944"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":15,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:41:34.507Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_998"}},{"id":"vifgm_repositories_2_resources_748","type":"collection","attributes":{"title":"Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White, 1961","creator":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_748#creator","type":"document_value","attributes":{"value":"Hugh Havilon Gordon Cultural Center (Los Angeles, California)","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_748#abstract_or_scope","type":"document_value","attributes":{"value":"Bifold pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by the author with illustration by Charles White created for the \"Make History Live Series\" by the Hugh Havilon Gordon Cultural Center.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_748#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_748","ead_ssi":"vifgm_repositories_2_resources_748","_root_":"vifgm_repositories_2_resources_748","_nest_parent_":"vifgm_repositories_2_resources_748","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_748.xml","title_filing_ssi":"Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White","title_ssm":["Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White"],"title_tesim":["Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White"],"unitdate_ssm":["December 1, 1961"],"unitdate_other_ssim":["December 1, 1961"],"normalized_date_ssm":["1961"],"normalized_title_ssm":["Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White, 1961"],"text":["Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White, 1961","C0447","/repositories/2/resources/748","American poetry -- 20th century","Art","African Americans","African American poets","African American artists","Poetry","There are no access restrictions.","This is a single item collection.","\"Biographical Note | A Finding Aid to the Charles W. White Papers, 1933-1987, Bulk 1960s-1970s.\" n.d. Text. Archives of American Art, Smithsonian Institution. Accessed May 15, 2025. https://www.aaa.si.edu/collections/charles-w-white-papers-9350/biographical-note.","\"Charles Wilbert White Jr. (1918-1979).\" n.d. Find a Grave. Accessed May 15, 2025. https://www.findagrave.com/memorial/156982547/charles_wilbert-white.","\"Langston Hughes.\" n.d. Poets.Org. Accessed May 15, 2025. https://poets.org/poet/langston-hughes.","\"Langston Hughes (1902-1967).\" n.d. Find a Grave. Accessed May 15, 2025. https://www.findagrave.com/memorial/6166005/langston-hughes.","Laskow, Sarah. 2025. \"Rivers Cosmogram.\" Atlas Obscura. May 15, 2025. http://www.atlasobscura.com/places/rivers-schomburg-center.","\"The Negro Mother and Other Dramatic Recitations, 1931, from the Prentiss Taylor Papers, 1885-1991.\" n.d. Archives of American Art, Smithsonian Institution. Accessed May 15, 2025. https://www.aaa.si.edu/collections/items/detail/negro-mother-and-other-dramatic-recitations-516.","Best known as a writer of poetry, novels, short stories, and plays and a key figure in the Harlem Renaissance of the 1920s, Langston Hughes was born James Mercer Langston Hughes on February 1, 1901 in Joplin, Missouri. His first book of poetry, The Weary Blues, was published in 1926 and in 1930 his first novel Not Without Laughter won the Harmon gold medal for literature. His poem \"The Negro Mother\" was first published in 1931 in his poetry collection The Negro Mother and Other Dramatic Recitations. Hughes passed away on May 22, 1967 at the age of 65. His ashes are interred beneath a cosmogram floor medallion inspired by and bearing lines from Hughes' poem \"The Negro Speaks of Rivers\" in the foyer of the Schomburg Center for Research in Black Culture in Harlem, New York.","Charles W. White was born in Chicago, Illinois on April 2, 1918. A prominent figure in the Chicago Black Renaissance, White began his career as a painter, printmaker, and educator in California in 1956 and in 1965 began teaching at the Otis Art Institute in Los Angeles, a position he would continue throughout his life. White graduated from the School of the Art Institute in Chicago in 1938 and worked as a muralist for the Works Progress Administration's Illinois Federal Arts Projects from 1939-1940. In 1942 and 1943 he received two Julius Rosenwald Foundation fellowships to create \"The Contribution of the Negro to American Democracy\" mural at the Hampton Institute (now Hampton University) in Hampton, Virginia and was artist-in-residence at Washington, D.C.'s Howard University in 1945. As an artist, White primarily created black/sepia and white drawings, paintings, and lithographs depicting figurative portrayals of African American history and experiences. His work has been exhibited throughout the country and in 1972 he was the third African American artist elected to full membership in the National Academy of Design. He passed away on October 3, 1979 at the age of 61 and is buried in Mountain View Cemetery in Altadena, California.","Processing completed by Meghan Glasbrenner in April 2025. Finding aid completed by Meghan Glasbrenner in May 2025.","The Special Collections Research Center holds Paul Robeson sound recording collection.","The Smithsonian Archives of American Art holds the Charles W. White papers.","Bifold pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by the author with illustration by Charles White created for the \"Make History Live Series\" by the Hugh Havilon Gordon Cultural Center. When folded, the cover shows a reprint of White's 1952 illustration depicting a close-up of the face of an African American woman, with her hands holding a handkerchief to her cheek. When opened, the inside shows the full text of Hughes' poem, along with a stamp at the center bottom attributing the pamphlet to the \"Make History Live Series\". An inscription and signature from Hughes is included in green pen in the top left and bottom right portions of the interior pages reading: \"For the House of Literary curios - Langston Hughes, New York, December 1, 1961.\" The back cover includes a list of books by Hughes available for purchase at the Hugh Gordon Book Shop in Los Angeles, California, along with information on the store.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Bifold pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by the author with illustration by Charles White created for the \"Make History Live Series\" by the Hugh Havilon Gordon Cultural Center.","R 71, C 2, S 6","George Mason University. Libraries. Special Collections Research Center","Hugh Havilon Gordon Cultural Center (Los Angeles, California)","Hughes, Langston, 1901-1967","White, Charles, 1918-1979","English\n."],"collection_title_tesim":["Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White, 1961"],"collection_ssim":["Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White, 1961"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0447","/repositories/2/resources/748"],"unitid_tesim":["C0447","/repositories/2/resources/748"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Hugh Havilon Gordon Cultural Center (Los Angeles, California)"],"creator_ssim":["Hugh Havilon Gordon Cultural Center (Los Angeles, California)"],"creator_persname_ssim":["Hughes, Langston, 1901-1967","White, Charles, 1918-1979"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Hugh Havilon Gordon Cultural Center (Los Angeles, California)"],"creators_ssim":["Hughes, Langston, 1901-1967","White, Charles, 1918-1979","George Mason University. Libraries. Special Collections Research Center","Hugh Havilon Gordon Cultural Center (Los Angeles, California)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Purchased by Lynn Eaton from Ian Brabner Rare Americana in 2021."],"access_subjects_ssim":["American poetry -- 20th century","Art","African Americans","African American poets","African American artists","Poetry"],"access_subjects_ssm":["American poetry -- 20th century","Art","African Americans","African American poets","African American artists","Poetry"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 1 folder"],"extent_tesim":[".01 Linear Feet 1 folder"],"genreform_ssim":["Poetry"],"date_range_isim":[1961],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eThis is a single item collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003e\"Biographical Note | A Finding Aid to the Charles W. 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In 1942 and 1943 he received two Julius Rosenwald Foundation fellowships to create \"The Contribution of the Negro to American Democracy\" mural at the Hampton Institute (now Hampton University) in Hampton, Virginia and was artist-in-residence at Washington, D.C.'s Howard University in 1945. As an artist, White primarily created black/sepia and white drawings, paintings, and lithographs depicting figurative portrayals of African American history and experiences. His work has been exhibited throughout the country and in 1972 he was the third African American artist elected to full membership in the National Academy of Design. He passed away on October 3, 1979 at the age of 61 and is buried in Mountain View Cemetery in Altadena, California."],"prefercite_html_tesm":["\u003cp\u003ePamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White, C0447, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by author with illustration by Charles White, C0447, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in April 2025. Finding aid completed by Meghan Glasbrenner in May 2025.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in April 2025. Finding aid completed by Meghan Glasbrenner in May 2025."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center holds \u003ca href=\"https://aspace.gmu.edu/resources/c0097\"\u003ePaul Robeson sound recording collection\u003c/a\u003e.\u003c/p\u003e","\u003cp\u003eThe Smithsonian Archives of American Art holds the \u003ca href=\"https://www.aaa.si.edu/collections/charles-w-white-papers-9350\"\u003eCharles W. White papers\u003c/a\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center holds Paul Robeson sound recording collection.","The Smithsonian Archives of American Art holds the Charles W. White papers."],"scopecontent_html_tesm":["\u003cp\u003eBifold pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by the author with illustration by Charles White created for the \"Make History Live Series\" by the Hugh Havilon Gordon Cultural Center. When folded, the cover shows a reprint of White's 1952 illustration depicting a close-up of the face of an African American woman, with her hands holding a handkerchief to her cheek. When opened, the inside shows the full text of Hughes' poem, along with a stamp at the center bottom attributing the pamphlet to the \"Make History Live Series\". An inscription and signature from Hughes is included in green pen in the top left and bottom right portions of the interior pages reading: \"For the House of Literary curios - Langston Hughes, New York, December 1, 1961.\" The back cover includes a list of books by Hughes available for purchase at the Hugh Gordon Book Shop in Los Angeles, California, along with information on the store.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Bifold pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by the author with illustration by Charles White created for the \"Make History Live Series\" by the Hugh Havilon Gordon Cultural Center. When folded, the cover shows a reprint of White's 1952 illustration depicting a close-up of the face of an African American woman, with her hands holding a handkerchief to her cheek. When opened, the inside shows the full text of Hughes' poem, along with a stamp at the center bottom attributing the pamphlet to the \"Make History Live Series\". An inscription and signature from Hughes is included in green pen in the top left and bottom right portions of the interior pages reading: \"For the House of Literary curios - Langston Hughes, New York, December 1, 1961.\" The back cover includes a list of books by Hughes available for purchase at the Hugh Gordon Book Shop in Los Angeles, California, along with information on the store."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_bd347158a9241c662f81156721d9f0c2\"\u003eBifold pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by the author with illustration by Charles White created for the \"Make History Live Series\" by the Hugh Havilon Gordon Cultural Center.\u003c/abstract\u003e\n    "],"abstract_tesim":["Bifold pamphlet for poem \"The Negro Mother\" by Langston Hughes inscribed and signed by the author with illustration by Charles White created for the \"Make History Live Series\" by the Hugh Havilon Gordon Cultural Center."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_3ce5a21a95a27d68c29e8756e8589895\"\u003eR 71, C 2, S 6\u003c/physloc\u003e\n    "],"physloc_tesim":["R 71, C 2, S 6"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Hugh Havilon Gordon Cultural Center (Los Angeles, California)"],"persname_ssim":["Hughes, Langston, 1901-1967","White, Charles, 1918-1979"],"names_coll_ssim":["Hughes, Langston, 1901-1967","White, Charles, 1918-1979"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Hugh Havilon Gordon Cultural Center (Los Angeles, California)","Hughes, Langston, 1901-1967","White, Charles, 1918-1979"],"language_ssim":["English\n."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:21:23.237Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/vifgm_repositories_2_resources_748"}},{"id":"viw_repositories_2_resources_9884","type":"collection","attributes":{"title":"Pearl S. Buck letters, 1942/1963","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9884#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eTwo letters from Pearl S. Buck to her editor. The first letter refers to something enclosed that she wanted to say to African Americans. The enclosed item is not present. She sent copies of this letter to all African American journals, and was glad to have her editor use the letter if they wished on or after February 28.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9884#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_9884","ead_ssi":"viw_repositories_2_resources_9884","_root_":"viw_repositories_2_resources_9884","_nest_parent_":"viw_repositories_2_resources_9884","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9884.xml","title_filing_ssi":"Pearl S. Buck letter","title_ssm":["Pearl S. Buck letters"],"title_tesim":["Pearl S. Buck letters"],"unitdate_ssm":["1942 February 25 - 1963 January 18"],"unitdate_inclusive_ssm":["1942 February 25 - 1963 January 18"],"normalized_date_ssm":["1942/1963"],"normalized_title_ssm":["Pearl S. Buck letters, 1942/1963"],"text":["Pearl S. Buck letters, 1942/1963","SC 01923","/repositories/2/resources/9884","Letter writing","African Americans","Authors, American--20th century","Women authors, American--20th century","Women--Virginia--History","Authors","Correspondence","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Collection arranged at the item level","Two letters from Pearl S. Buck to her editor. The first letter refers to something enclosed that she wanted to say to African Americans. The enclosed item is not present. She sent copies of this letter to all African American journals, and was glad to have her editor use the letter if they wished on or after February 28.","The second signed letter is from Pearl S. Buck to editor and publisher Michael Di Capua. Buck thanks him for her revisions to a \"short essay\" and refers to two questions he asked her, saying that she \"tried to answer\" them.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Pearl S. Buck letters, 1942/1963"],"collection_ssim":["Pearl S. Buck letters, 1942/1963"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01923","/repositories/2/resources/9884"],"unitid_tesim":["SC 01923","/repositories/2/resources/9884"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased with the assistance of the Molly Elliot Seawell Endowment"],"access_subjects_ssim":["Letter writing","African Americans","Authors, American--20th century","Women authors, American--20th century","Women--Virginia--History","Authors","Correspondence"],"access_subjects_ssm":["Letter writing","African Americans","Authors, American--20th century","Women authors, American--20th century","Women--Virginia--History","Authors","Correspondence"],"has_online_content_ssim":["false"],"extent_ssm":["0.02 Linear Feet 2 legal size folder"],"extent_tesim":["0.02 Linear Feet 2 legal size folder"],"genreform_ssim":["Correspondence"],"date_range_isim":[1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eCollection arranged at the item level\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection arranged at the item level"],"prefercite_html_tesm":["\u003cp\u003ePearl S. Buck letters, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Pearl S. Buck letters, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eTwo letters from Pearl S. Buck to her editor. The first letter refers to something enclosed that she wanted to say to African Americans. The enclosed item is not present. She sent copies of this letter to all African American journals, and was glad to have her editor use the letter if they wished on or after February 28.\u003c/p\u003e","\u003cp\u003eThe second signed letter is from Pearl S. Buck to editor and publisher Michael Di Capua. Buck thanks him for her revisions to a \"short essay\" and refers to two questions he asked her, saying that she \"tried to answer\" them.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["Two letters from Pearl S. Buck to her editor. The first letter refers to something enclosed that she wanted to say to African Americans. The enclosed item is not present. She sent copies of this letter to all African American journals, and was glad to have her editor use the letter if they wished on or after February 28.","The second signed letter is from Pearl S. Buck to editor and publisher Michael Di Capua. Buck thanks him for her revisions to a \"short essay\" and refers to two questions he asked her, saying that she \"tried to answer\" them."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:53:26.715Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9884","ead_ssi":"viw_repositories_2_resources_9884","_root_":"viw_repositories_2_resources_9884","_nest_parent_":"viw_repositories_2_resources_9884","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9884.xml","title_filing_ssi":"Pearl S. 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Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Collection arranged at the item level","Two letters from Pearl S. Buck to her editor. The first letter refers to something enclosed that she wanted to say to African Americans. The enclosed item is not present. She sent copies of this letter to all African American journals, and was glad to have her editor use the letter if they wished on or after February 28.","The second signed letter is from Pearl S. Buck to editor and publisher Michael Di Capua. Buck thanks him for her revisions to a \"short essay\" and refers to two questions he asked her, saying that she \"tried to answer\" them.","Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Pearl S. Buck letters, 1942/1963"],"collection_ssim":["Pearl S. 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Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"arrangement_html_tesm":["\u003cp\u003eCollection arranged at the item level\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection arranged at the item level"],"prefercite_html_tesm":["\u003cp\u003ePearl S. Buck letters, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Pearl S. Buck letters, Special Collections Research Center, William \u0026 Mary Libraries."],"scopecontent_html_tesm":["\u003cp\u003eTwo letters from Pearl S. Buck to her editor. The first letter refers to something enclosed that she wanted to say to African Americans. The enclosed item is not present. She sent copies of this letter to all African American journals, and was glad to have her editor use the letter if they wished on or after February 28.\u003c/p\u003e","\u003cp\u003eThe second signed letter is from Pearl S. Buck to editor and publisher Michael Di Capua. Buck thanks him for her revisions to a \"short essay\" and refers to two questions he asked her, saying that she \"tried to answer\" them.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["Two letters from Pearl S. Buck to her editor. The first letter refers to something enclosed that she wanted to say to African Americans. The enclosed item is not present. She sent copies of this letter to all African American journals, and was glad to have her editor use the letter if they wished on or after February 28.","The second signed letter is from Pearl S. Buck to editor and publisher Michael Di Capua. Buck thanks him for her revisions to a \"short essay\" and refers to two questions he asked her, saying that she \"tried to answer\" them."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from the Curator of Manuscripts and Rare Books, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-07-23T21:53:26.715Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viw_repositories_2_resources_9884"}},{"id":"viw_repositories_2_resources_2502","type":"collection","attributes":{"title":"Racial and Ethnic Ephemera Collection, 1778/2005","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_2502#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe racial and ethnic ephemera collection contains various materials regarding race, ethnicity, and racism in the United States. The collection includes papers and items that promote racial prejudice and propaganda. The collection also contains items and papers that exemplify the fight for civil and equal rights. African Americans are the most broadly represented group in the collection. Other ethnic groups include Native Americans, Asian Americans, Jewish Americans, Muslim Americans, and Cuban Americans. Ku Klux Klan pamphlets and anti-immigration publications are also included. Through this collection, the American struggle of racism and prejudice is realized.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viw_repositories_2_resources_2502#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_2502","ead_ssi":"viw_repositories_2_resources_2502","_root_":"viw_repositories_2_resources_2502","_nest_parent_":"viw_repositories_2_resources_2502","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_2502.xml","title_filing_ssi":"Racial and Ethnic Ephemera Collection","title_ssm":["Racial and Ethnic Ephemera Collection"],"title_tesim":["Racial and Ethnic Ephemera Collection"],"unitdate_ssm":["1778-2005"],"unitdate_inclusive_ssm":["1778-2005"],"normalized_date_ssm":["1778/2005"],"normalized_title_ssm":["Racial and Ethnic Ephemera Collection, 1778/2005"],"text":["Racial and Ethnic Ephemera Collection, 1778/2005","Mss 1.05","/repositories/2/resources/2502","African Americans","African Americans in popular culture","African Americans in the performing arts","African Americans--Biography","African Americans--Caricatures and cartoons","African Americans--Education--Virginia","African Americans--History","African Americans--Suffrage","Antisemitism","Blaxploitation films -- United States","Chinese Americans--Caricatures and cartoons","Chinese Americans--Legal status, laws, etc.--History","Communism--United States","Cuban Americans--Public opinion.","Indians of North America","Kwanzaa","Political cartoons","Race awareness--Simulation methods","Race discrimination--Simulation methods","Race relations--1960-1970","Race relations--United States--History--19th century","Race relations--United States--History--20th century","Role playing","Welfare recipients--Public opinion","Welfare--Caricatures and cartoons","World War, 1939-1945--United States","Advertising cards","Birthday cards","Board games (activities)","Board games (game sets)","Calendars","Card games (game sets)","Christmas cards","Collecting cards","Comic strips","Fliers (printed matter)","Greeting cards","Plays (document genre)","Postcards","Reprints","Satires (document genre)","Sheet music","Songbooks","Stereoscopic photographs","VHS (TM)","Yearbooks","Collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","Additions are being made to this collection on an ongoing basis.","The collection is divided into eight series by race and/or ethnicity. The series are African American, Native American, Asian American, Jewish American, Muslim American, Cuban American, Ku Klux Klan, and Immigration and Discrimination. The contents for each series are  grouped by material type and ordered chronologically.","Acc. 2011.633, Acc. 2011.635, Acc. 2011.637 accessioned and minimally processed by Steven Bookman, University Archives Specialist, in October 2011. Full finding aid created in March 2015 and revised in December 2017 by Special Collections staff.","Ingersol View Company Stereographs, Comic Series #2","Related materials, such as rare books, are recorded at the folder level.","See also: individual titles in the Manuscript Sheet Music Collection (Mss. 1.07), Box 48, and individual items in the Manuscript Artifact Collection.","For similar material relating to race, ethnicity, and racism outside of the United States, see the Ephemera Collection, Mss. 1.02.","The racial and ethnic ephemera collection contains various materials regarding race, ethnicity, and racism in the United States. The collection includes papers and items that promote racial prejudice and propaganda. The collection also contains items and papers that exemplify the fight for civil and equal rights. African Americans are the most broadly represented group in the collection. Other ethnic groups include Native Americans, Asian Americans, Jewish Americans, Muslim Americans, and Cuban Americans. Ku Klux Klan pamphlets and anti-immigration publications are also included. Through this collection, the American struggle of racism and prejudice is realized.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","John H. Dockman and Son.","English German"],"collection_title_tesim":["Racial and Ethnic Ephemera Collection, 1778/2005"],"collection_ssim":["Racial and Ethnic Ephemera Collection, 1778/2005"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Mss 1.05","/repositories/2/resources/2502"],"unitid_tesim":["Mss 1.05","/repositories/2/resources/2502"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center","John H. Dockman and Son."],"creators_ssim":["Special Collections Research Center","John H. Dockman and Son."],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Acc. 2007.80 was purchased 8/30/2007. Acc. 2007.81 was purchased 8/30/2007. Acc. 2008.32 was purchased 5/1/2008. Acc. 2008.46 was purchased 5/16/2008.   Acc. 2008.64 was purchased 6/9/2008. Acc. 2008.94 was purchased 9/10/2008. Acc. 2008.95 was purchased 9/10/20008. Acc. 2008.159 was purchased 12/19/2008. Acc. 2009.063 was purchased on 2/24/2009. Acc. 2009.036 was purchased on 1/19/2009. Acc. 2009.147 was purchased on 4/6/2009. Acc. 2009.151 was purchased on 3/30/2009. Acc. 2009.180 was purchased on 4/29/2009. Acc. 2009.181 was purchased on 4/29/2009. Acc. 2009.226 was purchased on 5/25/2009. Acc. 2009.235 was purchased on 5/31/2009. Acc. 2009.305 was purchased on 7/17/2009. Acquisition information for material received after 7/13/2009 is available by consulting a Special Collections Research Center staff member. 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