{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bdate_range%5D%5B%5D=2000\u0026view=list","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bdate_range%5D%5B%5D=2000\u0026page=1\u0026view=list"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":6,"first_page?":true,"last_page?":true}},"data":[{"id":"vilxw_repositories_5_resources_358","type":"collection","attributes":{"title":"African-American Heritage Exhibit materials, 1992/2001","creator":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_358#creator","type":"document_value","attributes":{"value":"Rockbridge Historical Society","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/vilxw_repositories_5_resources_358#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains research materials gathered during 2001 for an African American heritage exhibit put on by Rockbridge Historical Society. 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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":"2026-08-14T22:53:38.700Z","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":"2026-08-14T22:53:38.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1595"}},{"id":"viu_repositories_3_resources_1372","type":"collection","attributes":{"title":"Explorations in Black Leadership project papers, 1998/2015","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1372#creator","type":"document_value","attributes":{"value":"Bond, Julian, 1940-2015","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1372#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains briefings with preparatory materials, questions and notes for oral histories conducted as part of the Explorations in Black Leadership project. The briefings were often compiled by interns with the Institute for Public History and included interview questions, possible answers prepared for Julian Bond (the primary interviewer), biographical information, handwritten notes, and correspondence. The collection also includes audio and video cassettes, CDs, and DVDs of interviews and other project related materials.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1372#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1372","ead_ssi":"viu_repositories_3_resources_1372","_root_":"viu_repositories_3_resources_1372","_nest_parent_":"viu_repositories_3_resources_1372","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1372.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/146283","title_filing_ssi":"Explorations in Black Leadership project papers","title_ssm":["Explorations in Black Leadership project papers"],"title_tesim":["Explorations in Black Leadership project papers"],"unitdate_ssm":["1998 - 2015"],"unitdate_inclusive_ssm":["1998 - 2015"],"normalized_date_ssm":["1998/2015"],"normalized_title_ssm":["Explorations in Black Leadership project papers, 1998/2015"],"text":["Explorations in Black Leadership project papers, 1998/2015","MSS 16674","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/1372","African Americans","African Americans -- Civil rights","Leadership","Interviews","Fair","The collection is open for research use.","Phyllis Leffler is a professor emerita at the University of Virginia with a focus on oral history, public history, and the history of the University of Virginia. Julian Bond was a prominent figure in the civil rights movement, helping to found the Southern Poverty Law Center in 1971. Bond also served in the Georgia House of Representatives, was the chairman of the NAACP from 1998 to 2010, and was a professor at the University of Virginia. \nExplorations in Black Leadership was a joint project co-directed by Leffler and Bond within the School of Arts and Sciences, conducted between 200 and 2015. The project consisted of oral histories of leaders from the Black community, from all areas including law, education, religion, public service, the arts, and business. It examined how leaders are nurtured and how historical circumstances shape them.","https://blackleadership.virginia.edu/","This collection contains briefings with preparatory materials, questions and notes for oral histories conducted as part of the Explorations in Black Leadership project. The briefings were often compiled by interns with the Institute for Public History and included interview questions, possible answers prepared for Julian Bond (the primary interviewer), biographical information, handwritten notes, and correspondence. The collection also includes audio and video cassettes, CDs, and DVDs of interviews and other project related materials.","This collection is protected by copyright and/or related rights. You are free to use materials in the collection in any way that is permitted by the copyright and related\nrights legislation that applies to your use.","Albert and Shirley Small Special Collections Library","Bond, Julian, 1940-2015","English"],"collection_title_tesim":["Explorations in Black Leadership project papers, 1998/2015"],"collection_ssim":["Explorations in Black Leadership project papers, 1998/2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16674","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/1372"],"unitid_tesim":["MSS 16674","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/1372"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Bond, Julian, 1940-2015"],"creator_ssim":["Bond, Julian, 1940-2015"],"creator_persname_ssim":["Bond, Julian, 1940-2015"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Bond, Julian, 1940-2015","Albert and Shirley Small Special Collections Library"],"access_terms_ssm":["This collection is protected by copyright and/or related rights. 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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. 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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. 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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":"2026-08-14T23:11:43.922Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6907"}},{"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. Acc. 2014.123-Acc. 2014.125 purchased for Swem Library with support from the SCRC Donors Fund."],"access_subjects_ssim":["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"],"access_subjects_ssm":["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"],"has_online_content_ssim":["false"],"extent_ssm":["4 Linear Feet"],"extent_tesim":["4 Linear Feet"],"genreform_ssim":["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"],"date_range_isim":[1778,1779,1780,1781,1782,1783,1784,1785,1786,1787,1788,1789,1790,1791,1792,1793,1794,1795,1796,1797,1798,1799,1800,1801,1802,1803,1804,1805,1806,1807,1808,1809,1810,1811,1812,1813,1814,1815,1816,1817,1818,1819,1820,1821,1822,1823,1824,1825,1826,1827,1828,1829,1830,1831,1832,1833,1834,1835,1836,1837,1838,1839,1840,1841,1842,1843,1844,1845,1846,1847,1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"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."],"accruals_html_tesm":["\u003cp\u003eAdditions are being made to this collection on an ongoing basis.\u003c/p\u003e  "],"accruals_heading_ssm":["Accruals:"],"accruals_tesim":["Additions are being made to this collection on an ongoing basis."],"arrangement_html_tesm":["\u003cp\u003eThe 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.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement of Materials:"],"arrangement_tesim":["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."],"prefercite_html_tesm":["\u003cp\u003eRacial and Ethnic Ephemera Collection, Special Collections Research Center, Swem Library, College of William and Mary.\u003c/p\u003e  "],"prefercite_tesim":["Racial and Ethnic Ephemera Collection, Special Collections Research Center, Swem Library, College of William and Mary."],"processinfo_html_tesm":["\u003cp\u003eAcc. 2011.633, Acc. 2011.635, Acc. 2011.637 accessioned and minimally processed by Steven Bookman, University Archives Specialist, in October 2011. 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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.","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. 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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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This note aims 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. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1484#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1484","ead_ssi":"viu_repositories_3_resources_1484","_root_":"viu_repositories_3_resources_1484","_nest_parent_":"viu_repositories_3_resources_1484","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1484.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/188793","title_filing_ssi":"Railton, Stephen collection of Uncle Tom's Cabin ephemera","title_ssm":["Stephen Railton collection of Uncle Tom's Cabin ephemera"],"title_tesim":["Stephen Railton collection of Uncle Tom's Cabin ephemera"],"unitdate_ssm":["1884-2015"],"unitdate_inclusive_ssm":["1884-2015"],"normalized_date_ssm":["1884/2015"],"normalized_title_ssm":["Stephen Railton collection of Uncle Tom's Cabin ephemera, 1884/2015"],"text":["Stephen Railton collection of Uncle Tom's Cabin ephemera, 1884/2015","MSS 16759","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/1484","Slave trade-United States-History","Black people--segregation","Slavery--United States--History--19th Century","African Americans","Slaveholders","Songbooks.","Advertising","postcards","American Literature--19th Century--History and Criticism","The collection is open for research use.","Dr. Stephen Railton is Professor of English at the University of Virginia. He came to Virginia from Columbia University, where he earned his B.A., M.A., and Ph.D. Professor Railton has published numerous articles on American literature and has written two books, including Fenimore Cooper: A Study of His Imagination. He has also appeared on PBS's Newshour with Jim Lehrer as an expert on Mark Twain. Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026 American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.","Source:\nThe Great Course website. Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton","Content warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. This note aims 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.","Broadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.","There is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852.","This material contains racist imagery of Black people. This note aims 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.","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South.","The materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin.","Racist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects.","In addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website.","Albert and Shirley Small Special Collections Library","Railton,  Stephen, 1948-","English"],"collection_title_tesim":["Stephen Railton collection of Uncle Tom's Cabin ephemera, 1884/2015"],"collection_ssim":["Stephen Railton collection of Uncle Tom's Cabin ephemera, 1884/2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16759","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/1484"],"unitid_tesim":["MSS 16759","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/1484"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Slave trade-United States-History"],"geogname_ssim":["Slave trade-United States-History"],"places_ssim":["Slave trade-United States-History"],"creator_ssm":["Railton,  Stephen, 1948-"],"creator_ssim":["Railton,  Stephen, 1948-"],"creator_persname_ssim":["Railton,  Stephen, 1948-"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library"],"creators_ssim":["Railton,  Stephen, 1948-","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was a gift from Steven Railton to the Small Special Collections Library at the University of Virginia Library on 1 July, 2019."],"access_subjects_ssim":["Black people--segregation","Slavery--United States--History--19th Century","African Americans","Slaveholders","Songbooks.","Advertising","postcards","American Literature--19th Century--History and Criticism"],"access_subjects_ssm":["Black people--segregation","Slavery--United States--History--19th Century","African Americans","Slaveholders","Songbooks.","Advertising","postcards","American Literature--19th Century--History and Criticism"],"has_online_content_ssim":["false"],"extent_ssm":["2 Cubic Feet One legal-sized document box, one letter document box,  three medium oversized folders, one large oversized folder; Vinyl records, wax cylinders, grooved analog discs, and open reels.","2 grooved analog discs","3 open reel videotapes","15 vinyl recordings"],"extent_tesim":["2 Cubic Feet One legal-sized document box, one letter document box,  three medium oversized folders, one large oversized folder; Vinyl records, wax cylinders, grooved analog discs, and open reels.","2 grooved analog discs","3 open reel videotapes","15 vinyl recordings"],"physfacet_tesim":["2 wax cylinders","3 open reel tapes","15 vinyl records"],"genreform_ssim":["postcards","American Literature--19th Century--History and Criticism"],"date_range_isim":[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],"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."],"bioghist_html_tesm":["\u003cp\u003eDr. Stephen Railton is Professor of English at the University of Virginia. He came to Virginia from Columbia University, where he earned his B.A., M.A., and Ph.D. Professor Railton has published numerous articles on American literature and has written two books, including Fenimore Cooper: A Study of His Imagination. He has also appeared on PBS's Newshour with Jim Lehrer as an expert on Mark Twain. Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026amp; American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.\u003c/p\u003e","\u003cp\u003eSource:\nThe Great Course website. Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Dr. Stephen Railton is Professor of English at the University of Virginia. He came to Virginia from Columbia University, where he earned his B.A., M.A., and Ph.D. Professor Railton has published numerous articles on American literature and has written two books, including Fenimore Cooper: A Study of His Imagination. He has also appeared on PBS's Newshour with Jim Lehrer as an expert on Mark Twain. Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026 American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.","Source:\nThe Great Course website. Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton"],"odd_html_tesm":["\u003cp\u003eContent warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. This note aims 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.\u003c/p\u003e  "],"odd_heading_ssm":["General"],"odd_tesim":["Content warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. This note aims 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."],"prefercite_html_tesm":["\u003cp\u003eMSS 16759, Steven Railton collection of Uncle Tom's Cabin ephemera, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16759, Steven Railton collection of Uncle Tom's Cabin ephemera, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"relatedmaterial_html_tesm":["\u003cp\u003eBroadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.\u003c/p\u003e","\u003cp\u003eThere is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Broadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.","There is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852."],"scopecontent_html_tesm":["\u003cp\u003eThis material contains racist imagery of Black people. This note aims 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. \u003c/p\u003e","\u003cp\u003eThis collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026amp; American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South. \u003c/p\u003e","\u003cp\u003e\nThe materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin. \u003c/p\u003e","\u003cp\u003eRacist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects. \u003c/p\u003e","\u003cp\u003eIn addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This material contains racist imagery of Black people. This note aims 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.","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South.","The materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin.","Racist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. 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Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton","Content warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. This note aims 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.","Broadside a1852 a. U54.Collection of Uncle Tom's cabin miscellaneous theater tickets, advertisements and images.","There is also an Uncle Tom's Jigsaw puzzle in PS2954.U6|bU46 1852.","This material contains racist imagery of Black people. This note aims 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.","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. The project website explores the precursors of the book, the book itself, its responses, and its popularity within the post-Civil War United States following the institution of Jim Crow Laws, particularly in the American South.","The materials collected by Railton include sheet music, newspaper clippings, adaptions and abridgments of the book, playbills, postcards, glass slides, stereograph photographs of scenes and characters from the book, tickets, a photograph of actors in blackface, paper doll cutouts, advertisements for performances of Uncle Tom's Cabin, advertisements using characters from the book, a makeup up guide for actors with extensive instructions for blackface and minstrel makeup, a children's play set composed of various fold-out paper buildings recreating the setting of Uncle Tom's Cabin, needlecraft patterns, vinyl records, wax cylinders, open reels, grooved discs, and films based on Uncle Tom's Cabin.","Racist caricatures and stereotypical depictions of Black people are commonplace throughout this collection of ephemera. 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Dr. Railton has also created two award-winning Web-based electronic archives, intended to explore the uses of electronic technology for teaching and studying American literature: Mark Twain in His Times (http://etext.lib.virginia.edu/railton) and Uncle Tom's Cabin \u0026 American Culture (http://jefferson.village.virginia.edu/utc), which won Gettysburg College's prestigious Lincoln Prize, awarded for the finest scholarship on Lincoln and the Civil War era.","Source:\nThe Great Course website. Accessed 4/10/2023\nhttps://www.thegreatcourses.com/professors/stephen-railton"],"odd_html_tesm":["\u003cp\u003eContent warning: contains racial imagery typical for the time that contemporary viewers may find offensive.This material contains racist imagery of Black people. 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As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026amp; American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. 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The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects. \u003c/p\u003e","\u003cp\u003eIn addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This material contains racist imagery of Black people. This note aims 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.","This collection contains materials related to Harriet Beecher Stowe's novel \"Uncle Tom's Cabin\" predominately created between the late nineteenth and mid-twentieth century and collected and curated by Stephen Railton. Railton is a University of Virginia English professor whose work predominantly focuses on American literature. As part of his scholarship, Railton created a digital humanities project titled \"Uncle Tom's Cabin \u0026 American Culture,\" a multi-media archive exploring the cultural phenomena of \"Uncle Tom's Cabin\" published in 1852. 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The reach of Uncle Tom's Cabin extended into the arenas of advertising, children's toys, literature, play productions, and household objects.","In addition to these materials is a folder of correspondence between Railton and other institutions to secure rights and permissions for the use of other institutions' materials for the website."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Railton,  Stephen, 1948-"],"names_coll_ssim":["Railton,  Stephen, 1948-"],"names_ssim":["Albert and Shirley Small Special Collections Library","Railton,  Stephen, 1948-"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":19,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:53:38.700Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1484"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"College of William and Mary","value":"College of William and Mary","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bdate_range%5D%5B%5D=2000\u0026f%5Brepository%5D%5B%5D=College+of+William+and+Mary\u0026view=list"}},{"attributes":{"label":"University of Virginia, Special Collections Dept.","value":"University of Virginia, Special Collections Dept.","hits":3},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bdate_range%5D%5B%5D=2000\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept.\u0026view=list"}},{"attributes":{"label":"Washington and Lee University, Leyburn Library","value":"Washington and Lee University, Leyburn Library","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bdate_range%5D%5B%5D=2000\u0026f%5Brepository%5D%5B%5D=Washington+and+Lee+University%2C+Leyburn+Library\u0026view=list"}},{"attributes":{"label":"West Virginia and Regional History Center","value":"West Virginia and Regional History Center","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bdate_range%5D%5B%5D=2000\u0026f%5Brepository%5D%5B%5D=West+Virginia+and+Regional+History+Center\u0026view=list"}}]},"links":{"self":"https://arvasarchive.org/catalog/facet/repository_ssim.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bdate_range%5D%5B%5D=2000\u0026view=list"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"African-American Heritage Exhibit materials, 1992/2001","value":"African-American Heritage Exhibit materials, 1992/2001","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bcollection%5D%5B%5D=African-American+Heritage+Exhibit+materials%2C+1992%2F2001\u0026f%5Bdate_range%5D%5B%5D=2000\u0026view=list"}},{"attributes":{"label":"Ernie McClintock papers, 1961/2006","value":"Ernie McClintock papers, 1961/2006","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bcollection%5D%5B%5D=Ernie+McClintock+papers%2C+1961%2F2006\u0026f%5Bdate_range%5D%5B%5D=2000\u0026view=list"}},{"attributes":{"label":"Explorations in Black Leadership project papers, 1998/2015","value":"Explorations in Black Leadership project papers, 1998/2015","hits":1},"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026f%5Bcollection%5D%5B%5D=Explorations+in+Black+Leadership+project+papers%2C+1998%2F2015\u0026f%5Bdate_range%5D%5B%5D=2000\u0026view=list"}},{"attributes":{"label":"Katherine G. 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