{"links":{"self":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Black-and-white+photographs\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept.\u0026view=list","next":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Black-and-white+photographs\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept.\u0026page=2\u0026view=list","last":"https://arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Black-and-white+photographs\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept.\u0026page=4\u0026view=list"},"meta":{"pages":{"current_page":1,"next_page":2,"prev_page":null,"total_pages":4,"limit_value":10,"offset_value":0,"total_count":35,"first_page?":true,"last_page?":false}},"data":[{"id":"viu_repositories_3_resources_779_c01_c26","type":"Box","attributes":{"title":"7 folders","breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_779_c01_c26#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_repositories_3_resources_779_c01_c26","ref_ssm":["viu_repositories_3_resources_779_c01_c26"],"id":"viu_repositories_3_resources_779_c01_c26","ead_ssi":"viu_repositories_3_resources_779","_root_":"viu_repositories_3_resources_779","_nest_parent_":"viu_repositories_3_resources_779_c01","parent_ssi":"viu_repositories_3_resources_779_c01","parent_ssim":["viu_repositories_3_resources_779","viu_repositories_3_resources_779_c01"],"parent_ids_ssim":["viu_repositories_3_resources_779","viu_repositories_3_resources_779_c01"],"parent_unittitles_ssm":["Virginia Folklore Society records","Folk songs"],"parent_unittitles_tesim":["Virginia Folklore Society records","Folk songs"],"text":["Virginia Folklore Society records","Folk songs","7 folders","Black-and-white photographs","English","box 26"],"title_filing_ssi":"7 folders","title_ssm":["7 folders"],"title_tesim":["7 folders"],"unitdate_inclusive_ssm":["1910s-1930s"],"normalized_date_ssm":["1910/1939"],"normalized_title_ssm":["7 folders"],"component_level_isim":[2],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Virginia Folklore Society records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Box"],"level_ssim":["Box"],"sort_isi":27,"parent_access_restrict_tesm":["Boxes 27 and 28 do not circulate."],"date_range_isim":[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],"access_subjects_ssim":["Black-and-white photographs"],"access_subjects_ssm":["Black-and-white photographs"],"language_ssim":["English"],"containers_ssim":["box 26"],"_nest_path_":"/components#0/components#25","timestamp":"2026-05-20T23:46:00.461Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_779","ead_ssi":"viu_repositories_3_resources_779","_root_":"viu_repositories_3_resources_779","_nest_parent_":"viu_repositories_3_resources_779","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_779.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/687","title_filing_ssi":"Virginia Folklore Society records","title_ssm":["Virginia Folklore Society records"],"title_tesim":["Virginia Folklore Society records"],"unitdate_ssm":["1905-2007"],"unitdate_inclusive_ssm":["1905-2007"],"level_ssm":["collection"],"level_ssim":["Series","Collection"],"unitid_ssm":["MSS 9936","Archival Resource Key","/repositories/3/resources/779"],"text":["MSS 9936","Archival Resource Key","/repositories/3/resources/779","Virginia Folklore Society records","clippings (information artifacts)","Black-and-white photographs","Notebooks","Boxes 27 and 28 do not circulate.","Boxes 27 and 28 in this series DO NOT circulate.","Arranged into three series: Series 1: Folk Songs; Series 2: Folk Song recordings; Series 3: Accession 2019-0235","Materials within the boxes have been maintained in their orginal order.  This accession has been minimally  processed.","The broad outlines of change and growth in the study of folklore/folklife, however, is reflected on a small scale in the history of the Virginia Folklore Society and its three successive, but overlapping periods of development and achievement. These can be defined as: \"The Quest for the Ballad,\" \"The Arthur Kyle Davis, Jr. Years,\" and \"Folklore/Folklife: Professionalization of the Discipline.\" ","The Quest for the Ballad: This era began with the founding of the Society by C. Alphonso Smith and is identified with his efforts and those of notable collectors, such as John Stone, Alfreda Peel, Martha Davis and Juliet Fauntleroy, as well as other teachers and members of the Virginia State Educational Association. In the first Bulletin of the Society in 1913, Smith made the pursuit of the ballad explicit and primary. Although he expressed interest in other types of folklore and acknowledged that \"[t]he ballad is not the whole of folklore,\" still this and all subsequent volumes of the Bulletin were devoted almost entirely to considerations of the ballad and its collection in Virginia (pp. 1-5). ","Under C. Alphonso Smith's guidance as its first President and later as Vice-President and Archivist, early members of the Society concentrated on collecting oral versions of the classic English and Scottish ballads as defined by Francis James Child in his five volumes of The English and Scottish Popular Ballads, published between 1882 and 1898. In the Bulletin for the third annual meeting held November 26, 1915, Smith reported on progress toward the Society's goal of obtaining at least 50 Child ballads in the State and he thanked \"all those who have co-operated with us in the effort made to restore our lyric past, and to make it a part of our lyric present.\" ","By 1920, Stone's expansive program had suffered from membership and revenue loss in the wake of World War I. In the Secretary-Treasurer's report for the \"Year Ending November 25, 1920,\" J. B. Ferneyhough noted that after paying $16.80 for paper and printing of the Bulletin, $.65 on envelopes for same, and $1.13 on postage to send them, the Society's balance in the Treasury was $.52. (Report for 1920, Bulletin, No. 8, p. 10). However, the Colonial Dames of America in the State of Virginia took an interest in the Society the following year and supported John Stone's \"ballad tours\" by donating $500 \"for the recapture of these priceless relics of colonial literature scattered through the State.\" The typescript of instructions written by C. Alphonso Smith to John Stone regarding the field work to be carried out with that support, as well as excerpts from Stone's meticulous accounts of expenditures including his final $.25 charge for shoe polish are of some historic interest in the annals of supported folklore research. Needless to say, the Society's Bulletin for 1921 was gratefully dedicated to the Colonial Dames of America. ","Two figures, who were important in the later periods of the Society's history, appeared on the scene for the first time at the 10th annual meeting on November 30, 1923, again held at the John Marshall High School in Richmond. One of these persons was Benjamin C. Moomaw, Jr. of Barber, Virginia, who was elected Secretary-Treasurer of the Society. ","The second individual was Arthur Kyle Davis, Jr. who was, at that time, an Instructor of English at the University of Virginia, where he remained throughout his lifetime. C. Alphonso Smith introduced Davis as the person who will \"publish our findings\" and wrote in the Bulletin that \"I shall turn over all of our ballads to him and he will select, reject, and edit as he thinks best.\" Davis was elected Archivist of the Society at that meeting. (Report for 1923, No. II). In June of 1924, Dr. C. Alphonso Smith died in Annapolis, Maryland. With his passing, the Virginia Folklore Society entered the second and longest phase of its history. ","The Arthur Kyle Davis, Jr. Years: Meetings of the Society were held intermittently between 1924 and 1967, with both the purpose and organization of the Society becoming less clearly defined and apparent. There were periods of intensive collecting, recording and publishing, alternating with intervals of relative inactivity with regard to folklore. ","In 1929, Arthur Kyle Davis, Jr. completed his initial work as editor and published 51 ballads collected under the auspices of the Society in Traditional Ballads in Virginia. Later, Davis wrote a series of articles for The University of Virginia News Letter (April 1, 1931; February 1, 1932; November 15, 1934; and March 1, 1935) describing the ongoing efforts of the Society and urging the further collection of ballads and folksongs. And many Society members did continue through time to actively collect folksongs or other folklore materials and to deposit the results in the Society's archive. ","Beginning in 1932, Davis recorded 325 aluminum disks of folksongs and ballads, many of which, had been previously collected from informants identified earlier in the Society's history. These recordings, which were made possible by a $1,000 grant to Davis and the Society from the American Council of Learned Societies, are among the earliest field recordings of Anglo-American folksong extant in this country. ","In March of 1934 Davis was able to obtain some funding from the Civil Works Administration, one of the Depression-generated New Deal programs. With that assistance he hired John Stone to collect folksongs and Winston Wilkinson to transcribe music. The project only lasted three weeks, but in that short time Stone managed to add another 89 songs to the Society's archive. Davis also was able to employ University of Virginia student and Crozet native, Fred F. Knobloch, in the spring of 1935 through the student-aid provision of another New Deal agency, the Federal Emergency Relief program. ","In addition, Arthur Kyle Davis, Jr. served at least one term as President of the Southeastern Folklore Society.  Its annual program held at the University of Virginia in April, 1941 included Virginia ballads and folksongs sung by one of Alfreda Peel's informants, Mrs. Texas Gladden of Roanoke County.","In 1949, Arthur Kyle Davis, Jr. edited and published Folk-Songs of Virginia: A Descriptive Index and Classification. Otherwise, Society activities appear to have been at their lowest ebb during World War II and for a number of years following. By the mid-1950s, however, Davis, with the help of students George Walton Williams, Matthew Joseph Bruccoli and Paul Clayton Worthington, pursued further collecting possibilities and began efforts to make taped copies of the earlier aluminum disk recordings. ","With the assistance of the aforementioned students, Davis also published More Traditional Ballads of Virginia in 1960. In dedicating the book \"To the Memory of C. Alphonso Smith, Martha M. Davis, Juliet Fauntleroy, Alfreda M. Peel, and John Stone\", Davis gave symbolic recognition--even though belated in some cases--to the passage of an age and a generation in the history of both the Society and of ballad collecting in the old style and tradition. ","On March 15, 1963, Arthur Kyle Davis, Jr. wrote another article for The University of Virginia News Letter titled, \"Folklore in Virginia: Its Collection and Study.\" Perhaps stimulated by the urban folksong revival that was underway nationwide, he stated, \"the time seems ripe to revive the Society and to set its course toward the assembling of the State's miscellaneous folklore.\" This article prompted a considerable response and receipt of folklore collectanea. With that renewed interest, the Society began again to have regular annual meetings in 1967 and folklore materials began coming into the Society's archive in greater volume. Davis had plans to expand Society activities, including the publication of a journal, and he had made preliminary steps in those directions. Those projects were left unrealized when Professor Arthur Kyle Davis, Jr. died in September, 1972. ","Folklore/Folklife: Professionalization of the Discipline: The third phase of the Virginia Folklore Society's history actually began prior to Davis's death, when the media influence from the urban folksong revival and the development of scholarly programs in Folklore at several universities combined both to attract and create a demand for persons trained in such a discipline. In part in response to those particular circumstances and in part due simply to serendipity, several such newly trained Folklore specialists came to work in Virginia and not unexpectedly, soon became involved with the Virginia Folklore Society. With a Ph.D. from the Folklore Progam at the University of Pennsylvania, Charles L. Perdue, Jr. came to teach Folklore courses in the University of Virginia's English Department in 1971 and later became jointly affiliated with both the English \u0026 Anthropology Departments there. Shortly thereafter J. Roderick Moore, with an M.A. in Folklore Studies from the Cooperstown Program in New York State, began working and teaching first at Mountain Empire Community College in Big Stone Gap, then at the Blue Ridge Institute of Ferrum College in Ferrum, Virginia. ","The contact between Perdue, specifically, and Davis at the University with regard to the Society was obviously shortlived. Nevertheless, a collaborative effort to revitalize the Society shortly after Davis's death involved long-time members, Ben C. Moomaw, Jr., President; C. Alphonso Smith, Jr. and Virginia F. Jordan, Vice-Presidents; and Fred F. Knobloch, Secretary-Treasurer; along with Perdue and Moore, their wives Nancy J. Martin-Perdue and Elizabeth Moore, Thomas E. Barden, a former student of Davis's, and many others. ","The decision was made to separate the Society from its former association with the Virginia Educational Association and to hold regular, annual meetings, independently, each Fall in Charlottesville, Virginia. These were begun in November, 1974, with occasional Spring meetings held in various regions of the State. In 1979 the Society began publication of an occasional journal, with this being the fourth volume in the series of Folklore and Folklife in Virginia. ","In spite of its new face, the reorganized Society retained the stamp of an earlier era, which was manifested to a large degree through the personalities and interests of Ben C. Moomaw, Jr., who continued as president of the Society until his death in 1978, and Fred F. Knobloch, who retired as the Society's secretary-treasurer shortly before his death in 1981. ","The changes that have taken place in the Virginia Folklore Society reflect changes that have occurred in the field of Folklore generally, and also in other similar disciplines nationally, since 1913. The expansion of definitions of folklore to include material culture; the establishment of graduate programs in Folklore at Indiana University, the Universities of Pennsylvania, Texas, and California at Los Angeles, and elsewhere; and the movement of folklorists, who were trained in those settings and who thus have a broader view of the discipline, into a wide range of public sector positions have led to a gradual professionalization of the field. ","Consistent with those directions, the Society was in recent years directly involved in the creation of the position of Virginia Folklife Coordinator. A proposal to create such a position was submitted by VFS Executive Board members to the National Endowment for the Arts, Folks Arts Program, and the Virginia Commission for the Arts (VCA) in 1988. This venture, which was subsequently funded, was a cooperative one between NEA, VCA, and the Virginia Foundation for the Humanities (VFHPP). The Folklife Coordinator, Garry W. Barrow, hired in 1989 to develop and administer a statewide Virginia Folklife Program, working under the heading of the VFHPP in Charlottesville. Initially, the Virginia Folklore Society Executive Board acted in an advisory capacity to that program, along with representatives from VCA and VFHPP. The fact that the position was called the Virginia Folklife Coordinator was, in itself, a reflection of the changes, already suggested, that had been occurring in the field of folklore/folklore in the late 1960s to 1970s. ","Excerpted from http://faculty.virginia.edu/vafolk/archive.htm. ","Material transferred from the papers bequeathed to the Library by Arthur Kyle Davis.  By agreement with Charles Perdue, archivist of the Virginia Folklore Society, the material, which was originally collected for the society, is now to become the archives of the Society.  It is not to be withdrawn from the library by the Society.","This resource contains racially insensitive and offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object.","•\tA.K. Davis Duplication Project documents include annotated indices of 180 discs recorded by AK Davis (1932-34) and of 8 reels recorded by Fred Knobloch (1948) (n.b.: the indices indicate that the recordings were transferred to cassette from their original formats), photocopies of typed descriptions of the recordings ca. 1970-1973, standardized notes on songs recorded in Virginia and North Carolina in the 1970s.\n•\tMembership documents include membership application forms (blank and processed) ca. 1981-1987, membership card for the Virginia Folklore Society (in \"VFS Archive \u0026 Application Materials\" folder), Virginia Folklore Society Membership Directories and newsletters ca. 1998-1999.\n•\tMaterial related to the creation of the Virginia Folklife Program including materials ca 1990 and 1987 (in \"Folklore Advisory Committee: Current\" and \"VFS: Folklife Coordinator\" folders), also includes 2 manilla envelopes: one of papers ranking each possible head coordinator, titled \"Folklife Coordinator Rankings,\" and one addressed to Charles Perdue with each applicant's application materials.  \n•\tPhotographs of collectors and subjects of the original Virginia Folklore Society, (many in the sm. brown envelope include information each photo on its back). In four small manilla envelopes, ca 1900-1920s (each of the three white envelopes also include original negatives). In 5 large white manilla envelopes, sheets of printed photo-negatives that seem to accompany the archival photographs.\n•\tCorrected and final proofs for the Virginia Folklore Society Folklore and Folklife in Virginia Volume 4, 1988 (75th anniversary edition)—3 versions in soft plastic container.","•\tMembership records include: \"Membership Applications—Old\" ca. 1970s, 1988 membership directory, processed memberships 1988-1989, membership lists from 1980-1982 (multiple printed copies) and 1977 (in \"Old, outdated mailing lists\" folder), membership lists, n.d., directory of members (1997) and of scholars (n.d.), memberships 1989-2002.\n•\tAlso includes publicity and mailing lists (n.d.), blank Virginia Folklore Society mailing labels, journal orders and invoices (in booklets) ca 1980s, correspondence including \"Returned to Sender\" Virginia Folklore Society materials ca. 2001, correspondence with Hubert Davis Jr. ca 1980, and assorted miscellaneous papers.","•\tMultiple correspondence folders (1980s-1990s) including miscellaneous correspondence from 1985 onwards, and between Charles and Nancy Perdue and: Wayland D. Hand, George F. Jones, Fred F. Knobloch, Ann McCleary, Mary Anne McDonald, Benjamin C. Moomaw, Carol L. Oakey, Dan Patterson, Lila W. Robinson, John C. Rogers, Raymond H. Sloan, Elmer L. Smith, Margaret (Peggy) Yocom.\n•\tAssorted Virginia Folklore Society promotional and public-facing materials including: newsletters ca 1980s-1990s, logo drafts, stationary proofs and final papers, brochures, and an unlabeled folder containing paper documents (including original case labels) for the exhibition: \"75 Years in the History of the Virginia Folklore Society,\" presumably gathered for the 75th anniversary in 1988.\n•\tVirginia Folklore Society meeting materials: handouts for executive board meetings ca. 1993, meeting plans, notes, and invitations ca. 1990, and Virginia Folklore Society meeting programs with some notes from 1992, 1994, and 1995.\n•\tAssorted photocopies, materials related to Fred F. Knobloch, data sheets including grant awards and names of Virginia-local craftspeople from various regions (n.d.), handwritten membership reports ca. 1970s-1980s, assorted financial documents, other miscellaneous Virginia Folklore Society papers.","•\t3-ring binder of Virginia Folklore Society administrative materials ca. 1970s-1980s including membership list, newsletter, an Archive Report, newsletters ca. 1970s-1980.\n•\tAssorted folders of Virginia Folklore Society documents (correspondence, bank documents, etc) ca. 2000s.\n•\tOnline printouts of Virginia Folklore Society-centered material: pages from the Society website, the guide to its collection at UVA Special Collections, pages from the Virginia Folklife Program, assorted folklore-topical book records found in Virgo. Some of the Virginia Folklore Society website material is written in code. ca. 1990s. \n•\tAssorted periodicals ca. 1970s-1980s, including bibliographies and Library of Congress collection guides and folklore and folklife-specific special topics. Multiple issues of \"The Appalachian South: Cultural Heritage—Folklore, Song, History, People,\" vol. 1 no 1, 3, 4, vol. 2 no. 2, 1966-1967) and of \"Virginia Wildlife\" vol XXXIII no. 1, 2 and XXXII no. 2. A few focus on Virginia and the Blue Ridge Parkway.\n•\tA number of books, catalogued separately.","Virginia Folklore Society records (1913-1967; 22.7 cubic feet) consist chiefly of songs collected by the society's fieldworkers in the 1930s under the direction of society archivist Arthur Kyle Davis.  Sheet music, folklore, newsletters and photographs are also included, as are recordings of many of the songs.","Regarding boxes 6-10 and 21-24: These boxes contain the correspondence of C.A. Smith and Arthur K. Davis dealing primarily with folksong and ballad collecting.  Some of this correspondence is with members of the Virginia Folklore Society and some to miscellaneous individuals who sent in material or had information and/or questions regarding folksongs. ","The recordings in this collection include a large collection of the recordings made by A. K. Davis, with the assistance of Fred Knobloch and other Virginia Folklore Society members/collectors on Fairchild aluminum transcription disks.  Davis divided the recordings into four groups: A (12 inch disks), B: (10 inch disks), C: (8 inch disks), D: 6 inch disks).","Please note, there are some song titles and lyrics that contain racially insensitive and/or culturally offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object.","Folder 1 contains transcripts and notes.","Kit Williamson, vocals. Performance location: Yellow Branch, Campbell County, Virginia, United States","Kit Williamson, vocals. Performance location: Yellow Branch, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Texas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Texas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Texas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Horton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States","Horton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States","Horton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States","Ruby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals (1st work); Mrs. J. P. McConnell, vocals (2nd work). Performance location: East Radford, Montgomery County, Virginia, United States","Ruby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Alfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States","Alfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Mrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Orilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States","Orilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States","Orilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States","Eunice Yates, vocals. Performance location: Patrick County, Virginia, United States","Orpha Pedneau, vocals. Performance location: Radford, Virginia, United States","Orpha Pedneau, vocals. Performance location: Radford, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Sis Sears, vocals. Performance location: Roanoke County, Virginia, United States","S.F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States","S.F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States","Virginia Howdyshell, Mary Howdyshell, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Virginia Howdyshell, Mary Howdyshell, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Minter Grubb, vocals. Performance location: Roanoke County, Virginia, United States","Minter Grubb, vocals. Performance location: Roanoke County, Virginia, United States","Fanny Grubb, vocals. Performance location: Roanoke County, Virginia, United States","Minter Grubb, vocals. Performance location: Roanoke County, Virginia, United States","Fanny Grubb, vocals (1st work) ; Mr. J.S. Witt, vocals (2nd work). Performance location: Roanoke County, Virginia, United States","Mr. J.S. Witt, vocals. Performance location: Roanoke County, Virginia, United States","Mrs. J.S. Witt, vocals. Performance location: Roanoke County, Virginia, United States","Susie A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States","Susie A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States","John M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States","John M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States","John M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States","Charles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States","Charles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States","Allie Wallace, Vergie Wallace, vocals. Performance location: Campbell County, Virginia, United States","Nannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States","J. H. Chisholm, vocals. Performance location: Greenwood, Albemarle County, Virginia, United States","Mrs. J. F. Hodges, vocals (1st work) ; G.W. Palmer, vocals (2nd work). Performance location: Roanoke County, Virginia, United States","Mrs. W.F. Starke, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Myrtle Griffitts, vocals. Performance location: Cedar Bluff, Tazewell County, Virginia, United States","Eleanor Christian, vocals (1st work) ; Roselle Faulkner, vocals (2nd work). Performance location: Amherst County, Virginia, United States","Lawrence Wilsher, vocals. Performance location: Amherst, Amherst County, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Robert Bennett Bean, vocals. Performance location: Albemarle County, Virginia, United States","Robert Bennett Bean, vocals. Albemarle County, Virginia, United StatesPerformance location:","Robert Bennett Bean, vocals. Performance location: Albemarle County, Virginia, United States","George B. Eager, Jr., vocals. Performance location: Albemarle County, Virginia, United States","Lambert Davis, vocals (1st work) ; Charles Morris, vocals (2nd work). Performance location: Virginia, United States","Coleman Williams, vocals. Performance location: Halifax County, Virginia, United States","Performance location: Henrico County, Virginia, United States","Gospel Train Quartet, vocals. Performance location: Charlottesville, Virginia, United States","Carter Wicks, vocals. Performance location: Charlottesville, Virginia, United States","William Elliott Dold, vocals.","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals (1st work) ; Mrs. J. B. Crawford, vocals (2nd work). Performance location: Altavista, Campbell County, Virginia, United States","Mrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Mrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Mrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Richard D. Smith, vocals (1st work) ; Kit Williamson, vocals (2nd work). Performance location: Campbell County, Virginia, United States","Mrs. John Webb, vocals (1st work) ; Kit Williamson, vocals (2nd work). Performance location: Campbell County, Virginia, United States","Kit Williamson, vocals . Performance location: Yellow Branch, Campbell County, Virginia, United States","Ruby Bowman, vocals . Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals . Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals (1st work) ; Eunice Yates, vocals (2nd work). Performance location: Virginia, United States","Eunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States","Eunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States","Rosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States","Rosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Mrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Mrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Mrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Mrs. J. F. Hodges, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Mrs. J. F. Hodges, vocals (1st work) ; Marion Edna Chapman, vocals (2nd work). Performance location: Roanoke, Roanoke County, Virginia, United States","Wayne Crabtree, vocals. Performance location: Cleveland, Russell County, Virginia, United States","Wayne Crabtree, vocals. Performance location: Cleveland, Russell County, Virginia, United States","Nannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States","Nannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States","George Basil Hall, vocals. Performance location: Middleburg, Loudoun County, Virginia, United States","George Basil Hall, vocals. Performance location: Middleburg, Loudoun County, Virginia, United States","S. F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States","J. H. Chisholm, vocals. Performance location: Greenwood, Albemarle County, Virginia, United States","W. J. Lewis, vocals. Performance location: Altavista, Campbell County, Virginia, United States","G. W. Palmer, vocals. Performance location: Roanoke County, Virginia, United States","J. W. Fields, vocals. Performance location: Lebanon, Russell County, Virginia, United States","Lena Gardner, vocals. Performance location: Woodlawn, Carroll County, Virginia, United States","Roselle Faulkner, vocals. Performance location: Amherst, Amherst County, Virginia, United States","Eleanor Christian, vocals. Performance location: New Glasgow, Amherst County, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Carlottesville, Virginia, United States","Allie Wallace, vocals (1st work) ; Thelma Tinsley Lee, vocals (2nd work). Performance location: Campbell County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Mrs. S. A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States","Louise Forbes, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Charles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Thelma Tinsley Lee, Merkley Keesee Lewis, vocals (1st work) ; Abner Keesee, vocals (2nd work). Performance location: Virginia, United States","Mrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Mrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Ruby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals (1st work) ; Eunice Yates, vocals (2nd work). Performance location: Virginia, United States","Eunice Yates, vocals (1st work) ; Ruby Bowman, vocals (2nd work). Performance location: Virginia, United States","Eunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States","Eunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States","Alfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States","Marth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Marth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Marth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Mrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Merkley Keesee Lewis, vocals (1st work) ; Thelma Tinsley Lee, vocals (2nd work). Performance location: Campbell County, Virginia, United States","Thelma Tinsley Lee, vocals (1st, 3rd works) ; Merkley Keesee Lewis, vocals (2nd work). Performance location: Campbell County, Virginia, United States","H. W. Adams, vocals. Performance location: Altavista, Campbell County, Virginia, United States","H. W. Adams, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Vergie Wallace, vocals (1st work) ; Leta Adams, vocals (2nd-3rd works). Performance location: Campbell County, Virginia, United States","Mrs. J. F. Hodges, vocals (1st work) ; Daisy Pruitt, vocals (2nd work). Performance location: Virginia, United States","J. P. Whitt, vocals (1st work) ; Mrs. W. E. Gilbert, vocals (2nd work). Performance location: Radford, Virginia, United States","Rosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States","W. J. Lewis, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Minor Wilson, vocals.","Russell Davis, vocals. Performance location: Greene County, Virginia, United States","Ronald Witt, vocals (1st work) ; J. S. Witt, vocals (2nd work). Performance location: Roanoke County, Virginia, United States","Rosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States","Sis Sears, vocals. Performance location: Roanoke County, Virginia, United States","Florence Ogg, vocals (1st work) ; Ruby Bowman, vocals (2nd work). Performance location: Virginia, United States","S. F. Russell, dulcimer.","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Frank Geldand, piano.","Betty Booker, vocals. Performance location: Albemarle County, Virginia, United States","A.K. Davis, vocals. Performance location: Albemarle County, Virginia, United States","A.K. Davis (1st work).","A.K. Davis, vocals.","This box contains a mixture of materials (ephemera, cassettes (filed separately), original and photocopied correspondence, research, and primary source documents, administrative documents, flyers, photographs, and other papers) related to the Virginia Folklore Society at its inception and ca. 1970s-1990s.","This box contains administrative and public-facing documents related to Virginia Folklore Society meetings and website, discontinuously from 1981-2001. It also contains documents related to the creation of the Virginia Folklife Program ca. 1988-1990s.","This box contains a number of Virginia Folklore Society newsletters, documents related to the creation and publication of the Journal of the Virginia Folklore Society (Folklore and Folklife in Virginia), documents related to the Virginia Folklore Society website, and other Virginia Folklore Society documents and ephemera including flyers and stationary.","A large volume of materials related to the Journal of the Virginia Folklore Society (Folklore and Folklife in Virginia), all related to Volumes 1-5 (1979-1981, 1988). Administrative and public-facing documents related to the 75th anniversary meeting in 1988, and newsletters dated after that meeting. Documents related to Rosa Bibb, a ballad singer from Virginia.","Papers related to the A.K. Davis Duplication Project, documents related to Virginia Folklore Society membership, documents related to the creation of the Virginia Folklife Program, photographs of collectors and subjects of the original Virginia Folklore Society, and materials related to Folklore and Folklife in Virginia.","Virginia Folklore Society Membership records and a number of administrative and public-facing documents related to the Society, and an assortment of other Society-related documents.","Administrative and public-facing documents related to the Virginia Folklore Society, correspondence between Charles and Nancy Perdue and others, and other assorted Society papers.","Administrative and public-facing documents related to the Virginia Folklore Society, related to membership, correspondence, banking, the archive, the website, and the Society's presence in the UVA archive. Periodicals related to folklore and folklife in Virginia, including the Virginia Folklore Society newsletters.","Audio cassette tapes have been removed to a separate storage location.  Copies of membership checks have been deaccessioned when noted.  Some periodicals and printed material from box 8 have been separated for review.","Albert and Shirley Small Special Collections Library","Keesee, Abner, 1875-1956","Gladden, Texas, 1895-1966","Barker, Horton, 1889-1973","Morris, Victoria Shifflett","Peel, Alfreda Marion","MacAlexander, Eunice Yeatts, 1909-1990","Sears, Sis, 1888-1960","Hunt, John M., (Singer)","Lee, Charles Irving, 1874-1946","Barnard, Allie Wallace, 1909-2001","Palmer, George William, 1869-1936","Staples, Eleanor Louise, 1922-2012","Bean, Robert Bennett, 1874-1944","Eager, George Boardman, 1847-1929","Davis, Lambert, 1905-1993","Wicks, Carter, 1879-1950","Dold, W. E. (William Elliott)","Bibb, Rosa Lewis, 1906-1992","Hall, George Basil, 1863-1943","Gardner, Lena JoEllen, 1912-2004","Adams, Henry Ward, 1861-1944","Kinnier, Leta Adams, 1912-1963","French, Daisy Mae, 1904-1986","Wilson, Harry M. (Harry Minor), 1893-1981","Davis, Russell, 1904-1944","Ogg, Florence Belle, 1879-1954","Booker, Betty Burwell, 1875-1967","English"],"unitid_tesim":["MSS 9936","Archival Resource Key","/repositories/3/resources/779"],"normalized_title_ssm":["Virginia Folklore Society records"],"collection_title_tesim":["Virginia Folklore Society records"],"collection_ssim":["Virginia Folklore Society records"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["Archival transfer from MSS 9829, the papers of Arthur Kyle Davis, 19 February 1974 comprise series one and two.  Series three, accession number Accession 2019-0235, donated by Marc Charles Perdue and Martin Clay Perdue."],"access_subjects_ssim":["clippings (information artifacts)","Black-and-white photographs","Notebooks"],"access_subjects_ssm":["clippings (information artifacts)","Black-and-white photographs","Notebooks"],"has_online_content_ssim":["true"],"extent_ssm":["22.7 Cubic Feet 26 document boxes, 10 cubic foot boxes"],"extent_tesim":["22.7 Cubic Feet 26 document boxes, 10 cubic foot boxes"],"genreform_ssim":["clippings (information artifacts)","Black-and-white photographs","Notebooks"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eBoxes 27 and 28 do not circulate.\u003c/p\u003e","\u003cp\u003eBoxes 27 and 28 in this series DO NOT circulate.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Conditions Governing Access"],"accessrestrict_tesim":["Boxes 27 and 28 do not circulate.","Boxes 27 and 28 in this series DO NOT circulate."],"arrangement_html_tesm":["\u003cp\u003eArranged into three series: Series 1: Folk Songs; Series 2: Folk Song recordings; Series 3: Accession 2019-0235\u003c/p\u003e","\u003cp\u003eMaterials within the boxes have been maintained in their orginal order.  This accession has been minimally  processed.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement"],"arrangement_tesim":["Arranged into three series: Series 1: Folk Songs; Series 2: Folk Song recordings; Series 3: Accession 2019-0235","Materials within the boxes have been maintained in their orginal order.  This accession has been minimally  processed."],"bioghist_html_tesm":["\u003cp\u003eThe broad outlines of change and growth in the study of folklore/folklife, however, is reflected on a small scale in the history of the Virginia Folklore Society and its three successive, but overlapping periods of development and achievement. These can be defined as: \"The Quest for the Ballad,\" \"The Arthur Kyle Davis, Jr. Years,\" and \"Folklore/Folklife: Professionalization of the Discipline.\" \u003c/p\u003e\n","\u003cp\u003eThe Quest for the Ballad: This era began with the founding of the Society by C. Alphonso Smith and is identified with his efforts and those of notable collectors, such as John Stone, Alfreda Peel, Martha Davis and Juliet Fauntleroy, as well as other teachers and members of the Virginia State Educational Association. In the first Bulletin of the Society in 1913, Smith made the pursuit of the ballad explicit and primary. Although he expressed interest in other types of folklore and acknowledged that \"[t]he ballad is not the whole of folklore,\" still this and all subsequent volumes of the Bulletin were devoted almost entirely to considerations of the ballad and its collection in Virginia (pp. 1-5). \u003c/p\u003e\n","\u003cp\u003eUnder C. Alphonso Smith's guidance as its first President and later as Vice-President and Archivist, early members of the Society concentrated on collecting oral versions of the classic English and Scottish ballads as defined by Francis James Child in his five volumes of The English and Scottish Popular Ballads, published between 1882 and 1898. In the Bulletin for the third annual meeting held November 26, 1915, Smith reported on progress toward the Society's goal of obtaining at least 50 Child ballads in the State and he thanked \"all those who have co-operated with us in the effort made to restore our lyric past, and to make it a part of our lyric present.\" \u003c/p\u003e\n","\u003cp\u003eBy 1920, Stone's expansive program had suffered from membership and revenue loss in the wake of World War I. In the Secretary-Treasurer's report for the \"Year Ending November 25, 1920,\" J. B. Ferneyhough noted that after paying $16.80 for paper and printing of the Bulletin, $.65 on envelopes for same, and $1.13 on postage to send them, the Society's balance in the Treasury was $.52. (Report for 1920, Bulletin, No. 8, p. 10). However, the Colonial Dames of America in the State of Virginia took an interest in the Society the following year and supported John Stone's \"ballad tours\" by donating $500 \"for the recapture of these priceless relics of colonial literature scattered through the State.\" The typescript of instructions written by C. Alphonso Smith to John Stone regarding the field work to be carried out with that support, as well as excerpts from Stone's meticulous accounts of expenditures including his final $.25 charge for shoe polish are of some historic interest in the annals of supported folklore research. Needless to say, the Society's Bulletin for 1921 was gratefully dedicated to the Colonial Dames of America. \u003c/p\u003e\n","\u003cp\u003eTwo figures, who were important in the later periods of the Society's history, appeared on the scene for the first time at the 10th annual meeting on November 30, 1923, again held at the John Marshall High School in Richmond. One of these persons was Benjamin C. Moomaw, Jr. of Barber, Virginia, who was elected Secretary-Treasurer of the Society. \u003c/p\u003e\n","\u003cp\u003eThe second individual was Arthur Kyle Davis, Jr. who was, at that time, an Instructor of English at the University of Virginia, where he remained throughout his lifetime. C. Alphonso Smith introduced Davis as the person who will \"publish our findings\" and wrote in the Bulletin that \"I shall turn over all of our ballads to him and he will select, reject, and edit as he thinks best.\" Davis was elected Archivist of the Society at that meeting. (Report for 1923, No. II). In June of 1924, Dr. C. Alphonso Smith died in Annapolis, Maryland. With his passing, the Virginia Folklore Society entered the second and longest phase of its history. \u003c/p\u003e\n","\u003cp\u003eThe Arthur Kyle Davis, Jr. Years: Meetings of the Society were held intermittently between 1924 and 1967, with both the purpose and organization of the Society becoming less clearly defined and apparent. There were periods of intensive collecting, recording and publishing, alternating with intervals of relative inactivity with regard to folklore. \u003c/p\u003e\n","\u003cp\u003eIn 1929, Arthur Kyle Davis, Jr. completed his initial work as editor and published 51 ballads collected under the auspices of the Society in Traditional Ballads in Virginia. Later, Davis wrote a series of articles for The University of Virginia News Letter (April 1, 1931; February 1, 1932; November 15, 1934; and March 1, 1935) describing the ongoing efforts of the Society and urging the further collection of ballads and folksongs. And many Society members did continue through time to actively collect folksongs or other folklore materials and to deposit the results in the Society's archive. \u003c/p\u003e\n","\u003cp\u003eBeginning in 1932, Davis recorded 325 aluminum disks of folksongs and ballads, many of which, had been previously collected from informants identified earlier in the Society's history. These recordings, which were made possible by a $1,000 grant to Davis and the Society from the American Council of Learned Societies, are among the earliest field recordings of Anglo-American folksong extant in this country. \u003c/p\u003e\n","\u003cp\u003eIn March of 1934 Davis was able to obtain some funding from the Civil Works Administration, one of the Depression-generated New Deal programs. With that assistance he hired John Stone to collect folksongs and Winston Wilkinson to transcribe music. The project only lasted three weeks, but in that short time Stone managed to add another 89 songs to the Society's archive. Davis also was able to employ University of Virginia student and Crozet native, Fred F. Knobloch, in the spring of 1935 through the student-aid provision of another New Deal agency, the Federal Emergency Relief program. \u003c/p\u003e\n","\u003cp\u003eIn addition, Arthur Kyle Davis, Jr. served at least one term as President of the Southeastern Folklore Society.  Its annual program held at the University of Virginia in April, 1941 included Virginia ballads and folksongs sung by one of Alfreda Peel's informants, Mrs. Texas Gladden of Roanoke County.\u003c/p\u003e\n","\u003cp\u003eIn 1949, Arthur Kyle Davis, Jr. edited and published Folk-Songs of Virginia: A Descriptive Index and Classification. Otherwise, Society activities appear to have been at their lowest ebb during World War II and for a number of years following. By the mid-1950s, however, Davis, with the help of students George Walton Williams, Matthew Joseph Bruccoli and Paul Clayton Worthington, pursued further collecting possibilities and began efforts to make taped copies of the earlier aluminum disk recordings. \u003c/p\u003e\n","\u003cp\u003eWith the assistance of the aforementioned students, Davis also published More Traditional Ballads of Virginia in 1960. In dedicating the book \"To the Memory of C. Alphonso Smith, Martha M. Davis, Juliet Fauntleroy, Alfreda M. Peel, and John Stone\", Davis gave symbolic recognition--even though belated in some cases--to the passage of an age and a generation in the history of both the Society and of ballad collecting in the old style and tradition. \u003c/p\u003e\n","\u003cp\u003eOn March 15, 1963, Arthur Kyle Davis, Jr. wrote another article for The University of Virginia News Letter titled, \"Folklore in Virginia: Its Collection and Study.\" Perhaps stimulated by the urban folksong revival that was underway nationwide, he stated, \"the time seems ripe to revive the Society and to set its course toward the assembling of the State's miscellaneous folklore.\" This article prompted a considerable response and receipt of folklore collectanea. With that renewed interest, the Society began again to have regular annual meetings in 1967 and folklore materials began coming into the Society's archive in greater volume. Davis had plans to expand Society activities, including the publication of a journal, and he had made preliminary steps in those directions. Those projects were left unrealized when Professor Arthur Kyle Davis, Jr. died in September, 1972. \u003c/p\u003e\n","\u003cp\u003eFolklore/Folklife: Professionalization of the Discipline: The third phase of the Virginia Folklore Society's history actually began prior to Davis's death, when the media influence from the urban folksong revival and the development of scholarly programs in Folklore at several universities combined both to attract and create a demand for persons trained in such a discipline. In part in response to those particular circumstances and in part due simply to serendipity, several such newly trained Folklore specialists came to work in Virginia and not unexpectedly, soon became involved with the Virginia Folklore Society. With a Ph.D. from the Folklore Progam at the University of Pennsylvania, Charles L. Perdue, Jr. came to teach Folklore courses in the University of Virginia's English Department in 1971 and later became jointly affiliated with both the English \u0026amp; Anthropology Departments there. Shortly thereafter J. Roderick Moore, with an M.A. in Folklore Studies from the Cooperstown Program in New York State, began working and teaching first at Mountain Empire Community College in Big Stone Gap, then at the Blue Ridge Institute of Ferrum College in Ferrum, Virginia. \u003c/p\u003e\n","\u003cp\u003eThe contact between Perdue, specifically, and Davis at the University with regard to the Society was obviously shortlived. Nevertheless, a collaborative effort to revitalize the Society shortly after Davis's death involved long-time members, Ben C. Moomaw, Jr., President; C. Alphonso Smith, Jr. and Virginia F. Jordan, Vice-Presidents; and Fred F. Knobloch, Secretary-Treasurer; along with Perdue and Moore, their wives Nancy J. Martin-Perdue and Elizabeth Moore, Thomas E. Barden, a former student of Davis's, and many others. \u003c/p\u003e\n","\u003cp\u003eThe decision was made to separate the Society from its former association with the Virginia Educational Association and to hold regular, annual meetings, independently, each Fall in Charlottesville, Virginia. These were begun in November, 1974, with occasional Spring meetings held in various regions of the State. In 1979 the Society began publication of an occasional journal, with this being the fourth volume in the series of Folklore and Folklife in Virginia. \u003c/p\u003e\n","\u003cp\u003eIn spite of its new face, the reorganized Society retained the stamp of an earlier era, which was manifested to a large degree through the personalities and interests of Ben C. Moomaw, Jr., who continued as president of the Society until his death in 1978, and Fred F. Knobloch, who retired as the Society's secretary-treasurer shortly before his death in 1981. \u003c/p\u003e\n","\u003cp\u003eThe changes that have taken place in the Virginia Folklore Society reflect changes that have occurred in the field of Folklore generally, and also in other similar disciplines nationally, since 1913. The expansion of definitions of folklore to include material culture; the establishment of graduate programs in Folklore at Indiana University, the Universities of Pennsylvania, Texas, and California at Los Angeles, and elsewhere; and the movement of folklorists, who were trained in those settings and who thus have a broader view of the discipline, into a wide range of public sector positions have led to a gradual professionalization of the field. \u003c/p\u003e\n","\u003cp\u003eConsistent with those directions, the Society was in recent years directly involved in the creation of the position of Virginia Folklife Coordinator. A proposal to create such a position was submitted by VFS Executive Board members to the National Endowment for the Arts, Folks Arts Program, and the Virginia Commission for the Arts (VCA) in 1988. This venture, which was subsequently funded, was a cooperative one between NEA, VCA, and the Virginia Foundation for the Humanities (VFHPP). The Folklife Coordinator, Garry W. Barrow, hired in 1989 to develop and administer a statewide Virginia Folklife Program, working under the heading of the VFHPP in Charlottesville. Initially, the Virginia Folklore Society Executive Board acted in an advisory capacity to that program, along with representatives from VCA and VFHPP. The fact that the position was called the Virginia Folklife Coordinator was, in itself, a reflection of the changes, already suggested, that had been occurring in the field of folklore/folklore in the late 1960s to 1970s. \u003c/p\u003e\n","\u003cp\u003eExcerpted from http://faculty.virginia.edu/vafolk/archive.htm. \u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The broad outlines of change and growth in the study of folklore/folklife, however, is reflected on a small scale in the history of the Virginia Folklore Society and its three successive, but overlapping periods of development and achievement. These can be defined as: \"The Quest for the Ballad,\" \"The Arthur Kyle Davis, Jr. Years,\" and \"Folklore/Folklife: Professionalization of the Discipline.\" ","The Quest for the Ballad: This era began with the founding of the Society by C. Alphonso Smith and is identified with his efforts and those of notable collectors, such as John Stone, Alfreda Peel, Martha Davis and Juliet Fauntleroy, as well as other teachers and members of the Virginia State Educational Association. In the first Bulletin of the Society in 1913, Smith made the pursuit of the ballad explicit and primary. Although he expressed interest in other types of folklore and acknowledged that \"[t]he ballad is not the whole of folklore,\" still this and all subsequent volumes of the Bulletin were devoted almost entirely to considerations of the ballad and its collection in Virginia (pp. 1-5). ","Under C. Alphonso Smith's guidance as its first President and later as Vice-President and Archivist, early members of the Society concentrated on collecting oral versions of the classic English and Scottish ballads as defined by Francis James Child in his five volumes of The English and Scottish Popular Ballads, published between 1882 and 1898. In the Bulletin for the third annual meeting held November 26, 1915, Smith reported on progress toward the Society's goal of obtaining at least 50 Child ballads in the State and he thanked \"all those who have co-operated with us in the effort made to restore our lyric past, and to make it a part of our lyric present.\" ","By 1920, Stone's expansive program had suffered from membership and revenue loss in the wake of World War I. In the Secretary-Treasurer's report for the \"Year Ending November 25, 1920,\" J. B. Ferneyhough noted that after paying $16.80 for paper and printing of the Bulletin, $.65 on envelopes for same, and $1.13 on postage to send them, the Society's balance in the Treasury was $.52. (Report for 1920, Bulletin, No. 8, p. 10). However, the Colonial Dames of America in the State of Virginia took an interest in the Society the following year and supported John Stone's \"ballad tours\" by donating $500 \"for the recapture of these priceless relics of colonial literature scattered through the State.\" The typescript of instructions written by C. Alphonso Smith to John Stone regarding the field work to be carried out with that support, as well as excerpts from Stone's meticulous accounts of expenditures including his final $.25 charge for shoe polish are of some historic interest in the annals of supported folklore research. Needless to say, the Society's Bulletin for 1921 was gratefully dedicated to the Colonial Dames of America. ","Two figures, who were important in the later periods of the Society's history, appeared on the scene for the first time at the 10th annual meeting on November 30, 1923, again held at the John Marshall High School in Richmond. One of these persons was Benjamin C. Moomaw, Jr. of Barber, Virginia, who was elected Secretary-Treasurer of the Society. ","The second individual was Arthur Kyle Davis, Jr. who was, at that time, an Instructor of English at the University of Virginia, where he remained throughout his lifetime. C. Alphonso Smith introduced Davis as the person who will \"publish our findings\" and wrote in the Bulletin that \"I shall turn over all of our ballads to him and he will select, reject, and edit as he thinks best.\" Davis was elected Archivist of the Society at that meeting. (Report for 1923, No. II). In June of 1924, Dr. C. Alphonso Smith died in Annapolis, Maryland. With his passing, the Virginia Folklore Society entered the second and longest phase of its history. ","The Arthur Kyle Davis, Jr. Years: Meetings of the Society were held intermittently between 1924 and 1967, with both the purpose and organization of the Society becoming less clearly defined and apparent. There were periods of intensive collecting, recording and publishing, alternating with intervals of relative inactivity with regard to folklore. ","In 1929, Arthur Kyle Davis, Jr. completed his initial work as editor and published 51 ballads collected under the auspices of the Society in Traditional Ballads in Virginia. Later, Davis wrote a series of articles for The University of Virginia News Letter (April 1, 1931; February 1, 1932; November 15, 1934; and March 1, 1935) describing the ongoing efforts of the Society and urging the further collection of ballads and folksongs. And many Society members did continue through time to actively collect folksongs or other folklore materials and to deposit the results in the Society's archive. ","Beginning in 1932, Davis recorded 325 aluminum disks of folksongs and ballads, many of which, had been previously collected from informants identified earlier in the Society's history. These recordings, which were made possible by a $1,000 grant to Davis and the Society from the American Council of Learned Societies, are among the earliest field recordings of Anglo-American folksong extant in this country. ","In March of 1934 Davis was able to obtain some funding from the Civil Works Administration, one of the Depression-generated New Deal programs. With that assistance he hired John Stone to collect folksongs and Winston Wilkinson to transcribe music. The project only lasted three weeks, but in that short time Stone managed to add another 89 songs to the Society's archive. Davis also was able to employ University of Virginia student and Crozet native, Fred F. Knobloch, in the spring of 1935 through the student-aid provision of another New Deal agency, the Federal Emergency Relief program. ","In addition, Arthur Kyle Davis, Jr. served at least one term as President of the Southeastern Folklore Society.  Its annual program held at the University of Virginia in April, 1941 included Virginia ballads and folksongs sung by one of Alfreda Peel's informants, Mrs. Texas Gladden of Roanoke County.","In 1949, Arthur Kyle Davis, Jr. edited and published Folk-Songs of Virginia: A Descriptive Index and Classification. Otherwise, Society activities appear to have been at their lowest ebb during World War II and for a number of years following. By the mid-1950s, however, Davis, with the help of students George Walton Williams, Matthew Joseph Bruccoli and Paul Clayton Worthington, pursued further collecting possibilities and began efforts to make taped copies of the earlier aluminum disk recordings. ","With the assistance of the aforementioned students, Davis also published More Traditional Ballads of Virginia in 1960. In dedicating the book \"To the Memory of C. Alphonso Smith, Martha M. Davis, Juliet Fauntleroy, Alfreda M. Peel, and John Stone\", Davis gave symbolic recognition--even though belated in some cases--to the passage of an age and a generation in the history of both the Society and of ballad collecting in the old style and tradition. ","On March 15, 1963, Arthur Kyle Davis, Jr. wrote another article for The University of Virginia News Letter titled, \"Folklore in Virginia: Its Collection and Study.\" Perhaps stimulated by the urban folksong revival that was underway nationwide, he stated, \"the time seems ripe to revive the Society and to set its course toward the assembling of the State's miscellaneous folklore.\" This article prompted a considerable response and receipt of folklore collectanea. With that renewed interest, the Society began again to have regular annual meetings in 1967 and folklore materials began coming into the Society's archive in greater volume. Davis had plans to expand Society activities, including the publication of a journal, and he had made preliminary steps in those directions. Those projects were left unrealized when Professor Arthur Kyle Davis, Jr. died in September, 1972. ","Folklore/Folklife: Professionalization of the Discipline: The third phase of the Virginia Folklore Society's history actually began prior to Davis's death, when the media influence from the urban folksong revival and the development of scholarly programs in Folklore at several universities combined both to attract and create a demand for persons trained in such a discipline. In part in response to those particular circumstances and in part due simply to serendipity, several such newly trained Folklore specialists came to work in Virginia and not unexpectedly, soon became involved with the Virginia Folklore Society. With a Ph.D. from the Folklore Progam at the University of Pennsylvania, Charles L. Perdue, Jr. came to teach Folklore courses in the University of Virginia's English Department in 1971 and later became jointly affiliated with both the English \u0026 Anthropology Departments there. Shortly thereafter J. Roderick Moore, with an M.A. in Folklore Studies from the Cooperstown Program in New York State, began working and teaching first at Mountain Empire Community College in Big Stone Gap, then at the Blue Ridge Institute of Ferrum College in Ferrum, Virginia. ","The contact between Perdue, specifically, and Davis at the University with regard to the Society was obviously shortlived. Nevertheless, a collaborative effort to revitalize the Society shortly after Davis's death involved long-time members, Ben C. Moomaw, Jr., President; C. Alphonso Smith, Jr. and Virginia F. Jordan, Vice-Presidents; and Fred F. Knobloch, Secretary-Treasurer; along with Perdue and Moore, their wives Nancy J. Martin-Perdue and Elizabeth Moore, Thomas E. Barden, a former student of Davis's, and many others. ","The decision was made to separate the Society from its former association with the Virginia Educational Association and to hold regular, annual meetings, independently, each Fall in Charlottesville, Virginia. These were begun in November, 1974, with occasional Spring meetings held in various regions of the State. In 1979 the Society began publication of an occasional journal, with this being the fourth volume in the series of Folklore and Folklife in Virginia. ","In spite of its new face, the reorganized Society retained the stamp of an earlier era, which was manifested to a large degree through the personalities and interests of Ben C. Moomaw, Jr., who continued as president of the Society until his death in 1978, and Fred F. Knobloch, who retired as the Society's secretary-treasurer shortly before his death in 1981. ","The changes that have taken place in the Virginia Folklore Society reflect changes that have occurred in the field of Folklore generally, and also in other similar disciplines nationally, since 1913. The expansion of definitions of folklore to include material culture; the establishment of graduate programs in Folklore at Indiana University, the Universities of Pennsylvania, Texas, and California at Los Angeles, and elsewhere; and the movement of folklorists, who were trained in those settings and who thus have a broader view of the discipline, into a wide range of public sector positions have led to a gradual professionalization of the field. ","Consistent with those directions, the Society was in recent years directly involved in the creation of the position of Virginia Folklife Coordinator. A proposal to create such a position was submitted by VFS Executive Board members to the National Endowment for the Arts, Folks Arts Program, and the Virginia Commission for the Arts (VCA) in 1988. This venture, which was subsequently funded, was a cooperative one between NEA, VCA, and the Virginia Foundation for the Humanities (VFHPP). The Folklife Coordinator, Garry W. Barrow, hired in 1989 to develop and administer a statewide Virginia Folklife Program, working under the heading of the VFHPP in Charlottesville. Initially, the Virginia Folklore Society Executive Board acted in an advisory capacity to that program, along with representatives from VCA and VFHPP. The fact that the position was called the Virginia Folklife Coordinator was, in itself, a reflection of the changes, already suggested, that had been occurring in the field of folklore/folklore in the late 1960s to 1970s. ","Excerpted from http://faculty.virginia.edu/vafolk/archive.htm. "],"custodhist_html_tesm":["\u003cp\u003eMaterial transferred from the papers bequeathed to the Library by Arthur Kyle Davis.  By agreement with Charles Perdue, archivist of the Virginia Folklore Society, the material, which was originally collected for the society, is now to become the archives of the Society.  It is not to be withdrawn from the library by the Society.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Material transferred from the papers bequeathed to the Library by Arthur Kyle Davis.  By agreement with Charles Perdue, archivist of the Virginia Folklore Society, the material, which was originally collected for the society, is now to become the archives of the Society.  It is not to be withdrawn from the library by the Society."],"odd_html_tesm":["\u003cp\u003eThis resource contains racially insensitive and offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object.\u003c/p\u003e","\u003cp\u003e•\tA.K. Davis Duplication Project documents include annotated indices of 180 discs recorded by AK Davis (1932-34) and of 8 reels recorded by Fred Knobloch (1948) (n.b.: the indices indicate that the recordings were transferred to cassette from their original formats), photocopies of typed descriptions of the recordings ca. 1970-1973, standardized notes on songs recorded in Virginia and North Carolina in the 1970s.\n•\tMembership documents include membership application forms (blank and processed) ca. 1981-1987, membership card for the Virginia Folklore Society (in \"VFS Archive \u0026amp; Application Materials\" folder), Virginia Folklore Society Membership Directories and newsletters ca. 1998-1999.\n•\tMaterial related to the creation of the Virginia Folklife Program including materials ca 1990 and 1987 (in \"Folklore Advisory Committee: Current\" and \"VFS: Folklife Coordinator\" folders), also includes 2 manilla envelopes: one of papers ranking each possible head coordinator, titled \"Folklife Coordinator Rankings,\" and one addressed to Charles Perdue with each applicant's application materials.  \n•\tPhotographs of collectors and subjects of the original Virginia Folklore Society, (many in the sm. brown envelope include information each photo on its back). In four small manilla envelopes, ca 1900-1920s (each of the three white envelopes also include original negatives). In 5 large white manilla envelopes, sheets of printed photo-negatives that seem to accompany the archival photographs.\n•\tCorrected and final proofs for the Virginia Folklore Society Folklore and Folklife in Virginia Volume 4, 1988 (75th anniversary edition)—3 versions in soft plastic container.\u003c/p\u003e","\u003cp\u003e•\tMembership records include: \"Membership Applications—Old\" ca. 1970s, 1988 membership directory, processed memberships 1988-1989, membership lists from 1980-1982 (multiple printed copies) and 1977 (in \"Old, outdated mailing lists\" folder), membership lists, n.d., directory of members (1997) and of scholars (n.d.), memberships 1989-2002.\n•\tAlso includes publicity and mailing lists (n.d.), blank Virginia Folklore Society mailing labels, journal orders and invoices (in booklets) ca 1980s, correspondence including \"Returned to Sender\" Virginia Folklore Society materials ca. 2001, correspondence with Hubert Davis Jr. ca 1980, and assorted miscellaneous papers.\u003c/p\u003e","\u003cp\u003e•\tMultiple correspondence folders (1980s-1990s) including miscellaneous correspondence from 1985 onwards, and between Charles and Nancy Perdue and: Wayland D. Hand, George F. Jones, Fred F. Knobloch, Ann McCleary, Mary Anne McDonald, Benjamin C. Moomaw, Carol L. Oakey, Dan Patterson, Lila W. Robinson, John C. Rogers, Raymond H. Sloan, Elmer L. Smith, Margaret (Peggy) Yocom.\n•\tAssorted Virginia Folklore Society promotional and public-facing materials including: newsletters ca 1980s-1990s, logo drafts, stationary proofs and final papers, brochures, and an unlabeled folder containing paper documents (including original case labels) for the exhibition: \"75 Years in the History of the Virginia Folklore Society,\" presumably gathered for the 75th anniversary in 1988.\n•\tVirginia Folklore Society meeting materials: handouts for executive board meetings ca. 1993, meeting plans, notes, and invitations ca. 1990, and Virginia Folklore Society meeting programs with some notes from 1992, 1994, and 1995.\n•\tAssorted photocopies, materials related to Fred F. Knobloch, data sheets including grant awards and names of Virginia-local craftspeople from various regions (n.d.), handwritten membership reports ca. 1970s-1980s, assorted financial documents, other miscellaneous Virginia Folklore Society papers.\u003c/p\u003e","\u003cp\u003e•\t3-ring binder of Virginia Folklore Society administrative materials ca. 1970s-1980s including membership list, newsletter, an Archive Report, newsletters ca. 1970s-1980.\n•\tAssorted folders of Virginia Folklore Society documents (correspondence, bank documents, etc) ca. 2000s.\n•\tOnline printouts of Virginia Folklore Society-centered material: pages from the Society website, the guide to its collection at UVA Special Collections, pages from the Virginia Folklife Program, assorted folklore-topical book records found in Virgo. Some of the Virginia Folklore Society website material is written in code. ca. 1990s. \n•\tAssorted periodicals ca. 1970s-1980s, including bibliographies and Library of Congress collection guides and folklore and folklife-specific special topics. Multiple issues of \"The Appalachian South: Cultural Heritage—Folklore, Song, History, People,\" vol. 1 no 1, 3, 4, vol. 2 no. 2, 1966-1967) and of \"Virginia Wildlife\" vol XXXIII no. 1, 2 and XXXII no. 2. A few focus on Virginia and the Blue Ridge Parkway.\n•\tA number of books, catalogued separately.\u003c/p\u003e"],"odd_heading_ssm":["General","Inventory","Inventory","Inventory","Inventory"],"odd_tesim":["This resource contains racially insensitive and offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object.","•\tA.K. Davis Duplication Project documents include annotated indices of 180 discs recorded by AK Davis (1932-34) and of 8 reels recorded by Fred Knobloch (1948) (n.b.: the indices indicate that the recordings were transferred to cassette from their original formats), photocopies of typed descriptions of the recordings ca. 1970-1973, standardized notes on songs recorded in Virginia and North Carolina in the 1970s.\n•\tMembership documents include membership application forms (blank and processed) ca. 1981-1987, membership card for the Virginia Folklore Society (in \"VFS Archive \u0026 Application Materials\" folder), Virginia Folklore Society Membership Directories and newsletters ca. 1998-1999.\n•\tMaterial related to the creation of the Virginia Folklife Program including materials ca 1990 and 1987 (in \"Folklore Advisory Committee: Current\" and \"VFS: Folklife Coordinator\" folders), also includes 2 manilla envelopes: one of papers ranking each possible head coordinator, titled \"Folklife Coordinator Rankings,\" and one addressed to Charles Perdue with each applicant's application materials.  \n•\tPhotographs of collectors and subjects of the original Virginia Folklore Society, (many in the sm. brown envelope include information each photo on its back). In four small manilla envelopes, ca 1900-1920s (each of the three white envelopes also include original negatives). In 5 large white manilla envelopes, sheets of printed photo-negatives that seem to accompany the archival photographs.\n•\tCorrected and final proofs for the Virginia Folklore Society Folklore and Folklife in Virginia Volume 4, 1988 (75th anniversary edition)—3 versions in soft plastic container.","•\tMembership records include: \"Membership Applications—Old\" ca. 1970s, 1988 membership directory, processed memberships 1988-1989, membership lists from 1980-1982 (multiple printed copies) and 1977 (in \"Old, outdated mailing lists\" folder), membership lists, n.d., directory of members (1997) and of scholars (n.d.), memberships 1989-2002.\n•\tAlso includes publicity and mailing lists (n.d.), blank Virginia Folklore Society mailing labels, journal orders and invoices (in booklets) ca 1980s, correspondence including \"Returned to Sender\" Virginia Folklore Society materials ca. 2001, correspondence with Hubert Davis Jr. ca 1980, and assorted miscellaneous papers.","•\tMultiple correspondence folders (1980s-1990s) including miscellaneous correspondence from 1985 onwards, and between Charles and Nancy Perdue and: Wayland D. Hand, George F. Jones, Fred F. Knobloch, Ann McCleary, Mary Anne McDonald, Benjamin C. Moomaw, Carol L. Oakey, Dan Patterson, Lila W. Robinson, John C. Rogers, Raymond H. Sloan, Elmer L. Smith, Margaret (Peggy) Yocom.\n•\tAssorted Virginia Folklore Society promotional and public-facing materials including: newsletters ca 1980s-1990s, logo drafts, stationary proofs and final papers, brochures, and an unlabeled folder containing paper documents (including original case labels) for the exhibition: \"75 Years in the History of the Virginia Folklore Society,\" presumably gathered for the 75th anniversary in 1988.\n•\tVirginia Folklore Society meeting materials: handouts for executive board meetings ca. 1993, meeting plans, notes, and invitations ca. 1990, and Virginia Folklore Society meeting programs with some notes from 1992, 1994, and 1995.\n•\tAssorted photocopies, materials related to Fred F. Knobloch, data sheets including grant awards and names of Virginia-local craftspeople from various regions (n.d.), handwritten membership reports ca. 1970s-1980s, assorted financial documents, other miscellaneous Virginia Folklore Society papers.","•\t3-ring binder of Virginia Folklore Society administrative materials ca. 1970s-1980s including membership list, newsletter, an Archive Report, newsletters ca. 1970s-1980.\n•\tAssorted folders of Virginia Folklore Society documents (correspondence, bank documents, etc) ca. 2000s.\n•\tOnline printouts of Virginia Folklore Society-centered material: pages from the Society website, the guide to its collection at UVA Special Collections, pages from the Virginia Folklife Program, assorted folklore-topical book records found in Virgo. Some of the Virginia Folklore Society website material is written in code. ca. 1990s. \n•\tAssorted periodicals ca. 1970s-1980s, including bibliographies and Library of Congress collection guides and folklore and folklife-specific special topics. Multiple issues of \"The Appalachian South: Cultural Heritage—Folklore, Song, History, People,\" vol. 1 no 1, 3, 4, vol. 2 no. 2, 1966-1967) and of \"Virginia Wildlife\" vol XXXIII no. 1, 2 and XXXII no. 2. A few focus on Virginia and the Blue Ridge Parkway.\n•\tA number of books, catalogued separately."],"scopecontent_html_tesm":["\u003cp\u003eVirginia Folklore Society records (1913-1967; 22.7 cubic feet) consist chiefly of songs collected by the society's fieldworkers in the 1930s under the direction of society archivist Arthur Kyle Davis.  Sheet music, folklore, newsletters and photographs are also included, as are recordings of many of the songs.\u003c/p\u003e\n","\u003cp\u003eRegarding boxes 6-10 and 21-24: These boxes contain the correspondence of C.A. Smith and Arthur K. Davis dealing primarily with folksong and ballad collecting.  Some of this correspondence is with members of the Virginia Folklore Society and some to miscellaneous individuals who sent in material or had information and/or questions regarding folksongs. \u003c/p\u003e\n","\u003cp\u003eThe recordings in this collection include a large collection of the recordings made by A. K. Davis, with the assistance of Fred Knobloch and other Virginia Folklore Society members/collectors on Fairchild aluminum transcription disks.  Davis divided the recordings into four groups: A (12 inch disks), B: (10 inch disks), C: (8 inch disks), D: 6 inch disks).\u003c/p\u003e\n","\u003cp\u003ePlease note, there are some song titles and lyrics that contain racially insensitive and/or culturally offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object.\u003c/p\u003e","\u003cp\u003eFolder 1 contains transcripts and notes.\u003c/p\u003e","\u003cp\u003eKit Williamson, vocals. Performance location: Yellow Branch, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eKit Williamson, vocals. Performance location: Yellow Branch, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAbner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAbner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eJohn Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eTexas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eTexas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eTexas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eHorton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eHorton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eHorton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals (1st work); Mrs. J. P. McConnell, vocals (2nd work). Performance location: East Radford, Montgomery County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMartha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMartha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMartha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMartha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMartha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMartha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMartha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAlfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAlfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eOrilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eOrilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eOrilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eEunice Yates, vocals. Performance location: Patrick County, Virginia, United States\u003c/p\u003e","\u003cp\u003eOrpha Pedneau, vocals. Performance location: Radford, Virginia, United States\u003c/p\u003e","\u003cp\u003eOrpha Pedneau, vocals. Performance location: Radford, Virginia, United States\u003c/p\u003e","\u003cp\u003eMolly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMolly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMolly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMolly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMolly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMolly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eSis Sears, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eS.F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eS.F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVirginia Howdyshell, Mary Howdyshell, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVirginia Howdyshell, Mary Howdyshell, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMinter Grubb, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMinter Grubb, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eFanny Grubb, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMinter Grubb, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eFanny Grubb, vocals (1st work) ; Mr. J.S. Witt, vocals (2nd work). Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMr. J.S. Witt, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. J.S. Witt, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eSusie A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eSusie A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eJohn M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eJohn M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eJohn M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eCharles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States\u003c/p\u003e","\u003cp\u003eCharles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAllie Wallace, Vergie Wallace, vocals. Performance location: Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eNannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eJ. H. Chisholm, vocals. Performance location: Greenwood, Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. J. F. Hodges, vocals (1st work) ; G.W. Palmer, vocals (2nd work). Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. W.F. Starke, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMyrtle Griffitts, vocals. Performance location: Cedar Bluff, Tazewell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eEleanor Christian, vocals (1st work) ; Roselle Faulkner, vocals (2nd work). Performance location: Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLawrence Wilsher, vocals. Performance location: Amherst, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMargaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eMargaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eMargaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eMargaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eMargaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eRobert Bennett Bean, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRobert Bennett Bean, vocals. Albemarle County, Virginia, United StatesPerformance location:\u003c/p\u003e","\u003cp\u003eRobert Bennett Bean, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eGeorge B. Eager, Jr., vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLambert Davis, vocals (1st work) ; Charles Morris, vocals (2nd work). Performance location: Virginia, United States\u003c/p\u003e","\u003cp\u003eColeman Williams, vocals. Performance location: Halifax County, Virginia, United States\u003c/p\u003e","\u003cp\u003ePerformance location: Henrico County, Virginia, United States\u003c/p\u003e","\u003cp\u003eGospel Train Quartet, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eCarter Wicks, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eWilliam Elliott Dold, vocals.\u003c/p\u003e","\u003cp\u003eAbner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAbner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAbner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAbner Keesee, vocals (1st work) ; Mrs. J. B. Crawford, vocals (2nd work). Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRichard D. Smith, vocals (1st work) ; Kit Williamson, vocals (2nd work). Performance location: Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. John Webb, vocals (1st work) ; Kit Williamson, vocals (2nd work). Performance location: Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eKit Williamson, vocals . Performance location: Yellow Branch, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals . Performance location: Laurel Fork, Carroll County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals . Performance location: Laurel Fork, Carroll County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals (1st work) ; Eunice Yates, vocals (2nd work). Performance location: Virginia, United States\u003c/p\u003e","\u003cp\u003eEunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States\u003c/p\u003e","\u003cp\u003eEunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eRosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eLucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. J. F. Hodges, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. J. F. Hodges, vocals (1st work) ; Marion Edna Chapman, vocals (2nd work). Performance location: Roanoke, Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eWayne Crabtree, vocals. Performance location: Cleveland, Russell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eWayne Crabtree, vocals. Performance location: Cleveland, Russell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eNannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eNannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eGeorge Basil Hall, vocals. Performance location: Middleburg, Loudoun County, Virginia, United States\u003c/p\u003e","\u003cp\u003eGeorge Basil Hall, vocals. Performance location: Middleburg, Loudoun County, Virginia, United States\u003c/p\u003e","\u003cp\u003eS. F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eJ. H. Chisholm, vocals. Performance location: Greenwood, Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eW. J. Lewis, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eG. W. Palmer, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eJ. W. Fields, vocals. Performance location: Lebanon, Russell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLena Gardner, vocals. Performance location: Woodlawn, Carroll County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRoselle Faulkner, vocals. Performance location: Amherst, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eEleanor Christian, vocals. Performance location: New Glasgow, Amherst County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMargaret Michie Carter, vocals. Performance location: Carlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eAllie Wallace, vocals (1st work) ; Thelma Tinsley Lee, vocals (2nd work). Performance location: Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. S. A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLouise Forbes, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eCharles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAbner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAbner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eThelma Tinsley Lee, Merkley Keesee Lewis, vocals (1st work) ; Abner Keesee, vocals (2nd work). Performance location: Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRuby Bowman, vocals (1st work) ; Eunice Yates, vocals (2nd work). Performance location: Virginia, United States\u003c/p\u003e","\u003cp\u003eEunice Yates, vocals (1st work) ; Ruby Bowman, vocals (2nd work). Performance location: Virginia, United States\u003c/p\u003e","\u003cp\u003eEunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States\u003c/p\u003e","\u003cp\u003eEunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States\u003c/p\u003e","\u003cp\u003eAlfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMarth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMarth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMarth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eLucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMerkley Keesee Lewis, vocals (1st work) ; Thelma Tinsley Lee, vocals (2nd work). Performance location: Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eThelma Tinsley Lee, vocals (1st, 3rd works) ; Merkley Keesee Lewis, vocals (2nd work). Performance location: Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eH. W. Adams, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eH. W. Adams, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eVergie Wallace, vocals (1st work) ; Leta Adams, vocals (2nd-3rd works). Performance location: Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMrs. J. F. Hodges, vocals (1st work) ; Daisy Pruitt, vocals (2nd work). Performance location: Virginia, United States\u003c/p\u003e","\u003cp\u003eJ. P. Whitt, vocals (1st work) ; Mrs. W. E. Gilbert, vocals (2nd work). Performance location: Radford, Virginia, United States\u003c/p\u003e","\u003cp\u003eRosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eW. J. Lewis, vocals. Performance location: Altavista, Campbell County, Virginia, United States\u003c/p\u003e","\u003cp\u003eMinor Wilson, vocals.\u003c/p\u003e","\u003cp\u003eRussell Davis, vocals. Performance location: Greene County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRonald Witt, vocals (1st work) ; J. S. Witt, vocals (2nd work). Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eRosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States\u003c/p\u003e","\u003cp\u003eSis Sears, vocals. Performance location: Roanoke County, Virginia, United States\u003c/p\u003e","\u003cp\u003eFlorence Ogg, vocals (1st work) ; Ruby Bowman, vocals (2nd work). Performance location: Virginia, United States\u003c/p\u003e","\u003cp\u003eS. F. Russell, dulcimer.\u003c/p\u003e","\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eFrank Geldand, piano.\u003c/p\u003e","\u003cp\u003eBetty Booker, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eA.K. Davis, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","\u003cp\u003eA.K. Davis (1st work).\u003c/p\u003e","\u003cp\u003eA.K. Davis, vocals.\u003c/p\u003e","\u003cp\u003eThis box contains a mixture of materials (ephemera, cassettes (filed separately), original and photocopied correspondence, research, and primary source documents, administrative documents, flyers, photographs, and other papers) related to the Virginia Folklore Society at its inception and ca. 1970s-1990s.\u003c/p\u003e","\u003cp\u003eThis box contains administrative and public-facing documents related to Virginia Folklore Society meetings and website, discontinuously from 1981-2001. It also contains documents related to the creation of the Virginia Folklife Program ca. 1988-1990s.\u003c/p\u003e","\u003cp\u003eThis box contains a number of Virginia Folklore Society newsletters, documents related to the creation and publication of the Journal of the Virginia Folklore Society (Folklore and Folklife in Virginia), documents related to the Virginia Folklore Society website, and other Virginia Folklore Society documents and ephemera including flyers and stationary.\u003c/p\u003e","\u003cp\u003eA large volume of materials related to the Journal of the Virginia Folklore Society (Folklore and Folklife in Virginia), all related to Volumes 1-5 (1979-1981, 1988). Administrative and public-facing documents related to the 75th anniversary meeting in 1988, and newsletters dated after that meeting. Documents related to Rosa Bibb, a ballad singer from Virginia.\u003c/p\u003e","\u003cp\u003ePapers related to the A.K. Davis Duplication Project, documents related to Virginia Folklore Society membership, documents related to the creation of the Virginia Folklife Program, photographs of collectors and subjects of the original Virginia Folklore Society, and materials related to Folklore and Folklife in Virginia.\u003c/p\u003e","\u003cp\u003eVirginia Folklore Society Membership records and a number of administrative and public-facing documents related to the Society, and an assortment of other Society-related documents.\u003c/p\u003e","\u003cp\u003eAdministrative and public-facing documents related to the Virginia Folklore Society, correspondence between Charles and Nancy Perdue and others, and other assorted Society papers.\u003c/p\u003e","\u003cp\u003eAdministrative and public-facing documents related to the Virginia Folklore Society, related to membership, correspondence, banking, the archive, the website, and the Society's presence in the UVA archive. Periodicals related to folklore and folklife in Virginia, including the Virginia Folklore Society newsletters.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents Note","Scope and Contents Note","Scope and Contents Note","Scope and Contents Note"],"scopecontent_tesim":["Virginia Folklore Society records (1913-1967; 22.7 cubic feet) consist chiefly of songs collected by the society's fieldworkers in the 1930s under the direction of society archivist Arthur Kyle Davis.  Sheet music, folklore, newsletters and photographs are also included, as are recordings of many of the songs.","Regarding boxes 6-10 and 21-24: These boxes contain the correspondence of C.A. Smith and Arthur K. Davis dealing primarily with folksong and ballad collecting.  Some of this correspondence is with members of the Virginia Folklore Society and some to miscellaneous individuals who sent in material or had information and/or questions regarding folksongs. ","The recordings in this collection include a large collection of the recordings made by A. K. Davis, with the assistance of Fred Knobloch and other Virginia Folklore Society members/collectors on Fairchild aluminum transcription disks.  Davis divided the recordings into four groups: A (12 inch disks), B: (10 inch disks), C: (8 inch disks), D: 6 inch disks).","Please note, there are some song titles and lyrics that contain racially insensitive and/or culturally offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object.","Folder 1 contains transcripts and notes.","Kit Williamson, vocals. Performance location: Yellow Branch, Campbell County, Virginia, United States","Kit Williamson, vocals. Performance location: Yellow Branch, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Texas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Texas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Texas Gladden, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Horton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States","Horton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States","Horton Barker, vocals. Performance location: Chilhowie, Smyth County, Virginia, United States","Ruby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals (1st work); Mrs. J. P. McConnell, vocals (2nd work). Performance location: East Radford, Montgomery County, Virginia, United States","Ruby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Martha Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Alfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States","Alfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Mrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Orilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States","Orilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States","Orilla Keyton, vocals. Performance location: Albemarle County, Virginia, United States","Eunice Yates, vocals. Performance location: Patrick County, Virginia, United States","Orpha Pedneau, vocals. Performance location: Radford, Virginia, United States","Orpha Pedneau, vocals. Performance location: Radford, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Molly Stinett Whitehead, vocals. Performance location: Agricola, Amherst County, Virginia, United States","Sis Sears, vocals. Performance location: Roanoke County, Virginia, United States","S.F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States","S.F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States","Virginia Howdyshell, Mary Howdyshell, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Virginia Howdyshell, Mary Howdyshell, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Minter Grubb, vocals. Performance location: Roanoke County, Virginia, United States","Minter Grubb, vocals. Performance location: Roanoke County, Virginia, United States","Fanny Grubb, vocals. Performance location: Roanoke County, Virginia, United States","Minter Grubb, vocals. Performance location: Roanoke County, Virginia, United States","Fanny Grubb, vocals (1st work) ; Mr. J.S. Witt, vocals (2nd work). Performance location: Roanoke County, Virginia, United States","Mr. J.S. Witt, vocals. Performance location: Roanoke County, Virginia, United States","Mrs. J.S. Witt, vocals. Performance location: Roanoke County, Virginia, United States","Susie A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States","Susie A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States","John M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States","John M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States","John M. Hunt, vocals. Performance location: Marion, Smyth County, Virginia, United States","Charles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States","Charles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States","Allie Wallace, Vergie Wallace, vocals. Performance location: Campbell County, Virginia, United States","Nannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States","J. H. Chisholm, vocals. Performance location: Greenwood, Albemarle County, Virginia, United States","Mrs. J. F. Hodges, vocals (1st work) ; G.W. Palmer, vocals (2nd work). Performance location: Roanoke County, Virginia, United States","Mrs. W.F. Starke, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Myrtle Griffitts, vocals. Performance location: Cedar Bluff, Tazewell County, Virginia, United States","Eleanor Christian, vocals (1st work) ; Roselle Faulkner, vocals (2nd work). Performance location: Amherst County, Virginia, United States","Lawrence Wilsher, vocals. Performance location: Amherst, Amherst County, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Charlottesville, Virginia, United States","Robert Bennett Bean, vocals. Performance location: Albemarle County, Virginia, United States","Robert Bennett Bean, vocals. Albemarle County, Virginia, United StatesPerformance location:","Robert Bennett Bean, vocals. Performance location: Albemarle County, Virginia, United States","George B. Eager, Jr., vocals. Performance location: Albemarle County, Virginia, United States","Lambert Davis, vocals (1st work) ; Charles Morris, vocals (2nd work). Performance location: Virginia, United States","Coleman Williams, vocals. Performance location: Halifax County, Virginia, United States","Performance location: Henrico County, Virginia, United States","Gospel Train Quartet, vocals. Performance location: Charlottesville, Virginia, United States","Carter Wicks, vocals. Performance location: Charlottesville, Virginia, United States","William Elliott Dold, vocals.","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals (1st work) ; Mrs. J. B. Crawford, vocals (2nd work). Performance location: Altavista, Campbell County, Virginia, United States","Mrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Mrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Mrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Richard D. Smith, vocals (1st work) ; Kit Williamson, vocals (2nd work). Performance location: Campbell County, Virginia, United States","Mrs. John Webb, vocals (1st work) ; Kit Williamson, vocals (2nd work). Performance location: Campbell County, Virginia, United States","Kit Williamson, vocals . Performance location: Yellow Branch, Campbell County, Virginia, United States","Ruby Bowman, vocals . Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals . Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals (1st work) ; Eunice Yates, vocals (2nd work). Performance location: Virginia, United States","Eunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States","Eunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States","Rosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States","Rosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Mrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Mrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Mrs. W. F. Stark, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Mrs. J. F. Hodges, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Mrs. J. F. Hodges, vocals (1st work) ; Marion Edna Chapman, vocals (2nd work). Performance location: Roanoke, Roanoke County, Virginia, United States","Wayne Crabtree, vocals. Performance location: Cleveland, Russell County, Virginia, United States","Wayne Crabtree, vocals. Performance location: Cleveland, Russell County, Virginia, United States","Nannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States","Nannie Harrison Ware, vocals. Performance location: Amherst, Amherst County, Virginia, United States","George Basil Hall, vocals. Performance location: Middleburg, Loudoun County, Virginia, United States","George Basil Hall, vocals. Performance location: Middleburg, Loudoun County, Virginia, United States","S. F. Russell, vocals. Performance location: Marion, Smyth County, Virginia, United States","J. H. Chisholm, vocals. Performance location: Greenwood, Albemarle County, Virginia, United States","W. J. Lewis, vocals. Performance location: Altavista, Campbell County, Virginia, United States","G. W. Palmer, vocals. Performance location: Roanoke County, Virginia, United States","J. W. Fields, vocals. Performance location: Lebanon, Russell County, Virginia, United States","Lena Gardner, vocals. Performance location: Woodlawn, Carroll County, Virginia, United States","Roselle Faulkner, vocals. Performance location: Amherst, Amherst County, Virginia, United States","Eleanor Christian, vocals. Performance location: New Glasgow, Amherst County, Virginia, United States","Margaret Michie Carter, vocals. Performance location: Carlottesville, Virginia, United States","Allie Wallace, vocals (1st work) ; Thelma Tinsley Lee, vocals (2nd work). Performance location: Campbell County, Virginia, United States","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Mrs. S. A. Bishop, vocals. Performance location: Marion, Smyth County, Virginia, United States","Louise Forbes, vocals. Performance location: Roanoke, Roanoke County, Virginia, United States","Charles Lee, vocals. Performance location: New Castle, Craig County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Abner Keesee, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Thelma Tinsley Lee, Merkley Keesee Lewis, vocals (1st work) ; Abner Keesee, vocals (2nd work). Performance location: Virginia, United States","Mrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Mrs. John Webb, vocals. Performance location: Lynch Station, Campbell County, Virginia, United States","Ruby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals. Performance location: Laurel Fork, Carroll County, Virginia, United States","Ruby Bowman, vocals (1st work) ; Eunice Yates, vocals (2nd work). Performance location: Virginia, United States","Eunice Yates, vocals (1st work) ; Ruby Bowman, vocals (2nd work). Performance location: Virginia, United States","Eunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States","Eunice Yates, vocals. Performance location: Meadows of Dan, Patrick County, Virginia, United States","Alfreda M. Peel, vocals. Performance location: Roanoke County, Virginia, United States","Marth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Marth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Marth Elizabeth Gibson, vocals. Performance location: Crozet, Albermarle County, Virginia, United States","Lucy Perrin Gibbs, vocals. Performance location: Orange, Orange County, Virginia, United States","Mrs. J. B. Crawford, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Merkley Keesee Lewis, vocals (1st work) ; Thelma Tinsley Lee, vocals (2nd work). Performance location: Campbell County, Virginia, United States","Thelma Tinsley Lee, vocals (1st, 3rd works) ; Merkley Keesee Lewis, vocals (2nd work). Performance location: Campbell County, Virginia, United States","H. W. Adams, vocals. Performance location: Altavista, Campbell County, Virginia, United States","H. W. Adams, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Vergie Wallace, vocals (1st work) ; Leta Adams, vocals (2nd-3rd works). Performance location: Campbell County, Virginia, United States","Mrs. J. F. Hodges, vocals (1st work) ; Daisy Pruitt, vocals (2nd work). Performance location: Virginia, United States","J. P. Whitt, vocals (1st work) ; Mrs. W. E. Gilbert, vocals (2nd work). Performance location: Radford, Virginia, United States","Rosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States","W. J. Lewis, vocals. Performance location: Altavista, Campbell County, Virginia, United States","Minor Wilson, vocals.","Russell Davis, vocals. Performance location: Greene County, Virginia, United States","Ronald Witt, vocals (1st work) ; J. S. Witt, vocals (2nd work). Performance location: Roanoke County, Virginia, United States","Rosa Lewis Baltimore, vocals. Performance location: Charlottesville, Virginia, United States","Sis Sears, vocals. Performance location: Roanoke County, Virginia, United States","Florence Ogg, vocals (1st work) ; Ruby Bowman, vocals (2nd work). Performance location: Virginia, United States","S. F. Russell, dulcimer.","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States","Frank Geldand, piano.","Betty Booker, vocals. Performance location: Albemarle County, Virginia, United States","A.K. Davis, vocals. Performance location: Albemarle County, Virginia, United States","A.K. Davis (1st work).","A.K. Davis, vocals.","This box contains a mixture of materials (ephemera, cassettes (filed separately), original and photocopied correspondence, research, and primary source documents, administrative documents, flyers, photographs, and other papers) related to the Virginia Folklore Society at its inception and ca. 1970s-1990s.","This box contains administrative and public-facing documents related to Virginia Folklore Society meetings and website, discontinuously from 1981-2001. It also contains documents related to the creation of the Virginia Folklife Program ca. 1988-1990s.","This box contains a number of Virginia Folklore Society newsletters, documents related to the creation and publication of the Journal of the Virginia Folklore Society (Folklore and Folklife in Virginia), documents related to the Virginia Folklore Society website, and other Virginia Folklore Society documents and ephemera including flyers and stationary.","A large volume of materials related to the Journal of the Virginia Folklore Society (Folklore and Folklife in Virginia), all related to Volumes 1-5 (1979-1981, 1988). Administrative and public-facing documents related to the 75th anniversary meeting in 1988, and newsletters dated after that meeting. Documents related to Rosa Bibb, a ballad singer from Virginia.","Papers related to the A.K. Davis Duplication Project, documents related to Virginia Folklore Society membership, documents related to the creation of the Virginia Folklife Program, photographs of collectors and subjects of the original Virginia Folklore Society, and materials related to Folklore and Folklife in Virginia.","Virginia Folklore Society Membership records and a number of administrative and public-facing documents related to the Society, and an assortment of other Society-related documents.","Administrative and public-facing documents related to the Virginia Folklore Society, correspondence between Charles and Nancy Perdue and others, and other assorted Society papers.","Administrative and public-facing documents related to the Virginia Folklore Society, related to membership, correspondence, banking, the archive, the website, and the Society's presence in the UVA archive. Periodicals related to folklore and folklife in Virginia, including the Virginia Folklore Society newsletters."],"separatedmaterial_html_tesm":["\u003cp\u003eAudio cassette tapes have been removed to a separate storage location.  Copies of membership checks have been deaccessioned when noted.  Some periodicals and printed material from box 8 have been separated for review.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["Audio cassette tapes have been removed to a separate storage location.  Copies of membership checks have been deaccessioned when noted.  Some periodicals and printed material from box 8 have been separated for review."],"names_ssim":["Albert and Shirley Small Special Collections Library","Keesee, Abner, 1875-1956","Gladden, Texas, 1895-1966","Barker, Horton, 1889-1973","Morris, Victoria Shifflett","Peel, Alfreda Marion","MacAlexander, Eunice Yeatts, 1909-1990","Sears, Sis, 1888-1960","Hunt, John M., (Singer)","Lee, Charles Irving, 1874-1946","Barnard, Allie Wallace, 1909-2001","Palmer, George William, 1869-1936","Staples, Eleanor Louise, 1922-2012","Bean, Robert Bennett, 1874-1944","Eager, George Boardman, 1847-1929","Davis, Lambert, 1905-1993","Wicks, Carter, 1879-1950","Dold, W. E. (William Elliott)","Bibb, Rosa Lewis, 1906-1992","Hall, George Basil, 1863-1943","Gardner, Lena JoEllen, 1912-2004","Adams, Henry Ward, 1861-1944","Kinnier, Leta Adams, 1912-1963","French, Daisy Mae, 1904-1986","Wilson, Harry M. (Harry Minor), 1893-1981","Davis, Russell, 1904-1944","Ogg, Florence Belle, 1879-1954","Booker, Betty Burwell, 1875-1967"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Keesee, Abner, 1875-1956","Gladden, Texas, 1895-1966","Barker, Horton, 1889-1973","Morris, Victoria Shifflett","Peel, Alfreda Marion","MacAlexander, Eunice Yeatts, 1909-1990","Sears, Sis, 1888-1960","Hunt, John M., (Singer)","Lee, Charles Irving, 1874-1946","Barnard, Allie Wallace, 1909-2001","Palmer, George William, 1869-1936","Staples, Eleanor Louise, 1922-2012","Bean, Robert Bennett, 1874-1944","Eager, George Boardman, 1847-1929","Davis, Lambert, 1905-1993","Wicks, Carter, 1879-1950","Dold, W. E. (William Elliott)","Bibb, Rosa Lewis, 1906-1992","Hall, George Basil, 1863-1943","Gardner, Lena JoEllen, 1912-2004","Adams, Henry Ward, 1861-1944","Kinnier, Leta Adams, 1912-1963","French, Daisy Mae, 1904-1986","Wilson, Harry M. (Harry Minor), 1893-1981","Davis, Russell, 1904-1944","Ogg, Florence Belle, 1879-1954","Booker, Betty Burwell, 1875-1967"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":210,"online_item_count_is":173,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:46:00.461Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_779_c01_c26"}},{"id":"viu_repositories_3_resources_1404","type":"collection","attributes":{"title":"African American Freemason lodge photographs","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1404#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eCollection of eight black and white photographs. All are group portraits of members of African American fraternal lodges in Virginia. The images bare the stamps of several different photographers -- from Richmond, Chesapeake, and Virginia Beach. Several images show handwritten annotations on the back -- one lodge is identified as Progressive Lodge #80 in Norfolk, another as King David Lodge #28 in Richmond (this photo is signed by 13 members of the lodge on the back), another as Willow Grove Lodge #198.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1404#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1404","ead_ssi":"viu_repositories_3_resources_1404","_root_":"viu_repositories_3_resources_1404","_nest_parent_":"viu_repositories_3_resources_1404","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1404.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/159808","title_filing_ssi":"African American Freemason Lodge photographs","title_ssm":["African American Freemason lodge photographs"],"title_tesim":["African American Freemason lodge photographs"],"unitdate_ssm":["circa 1950s"],"unitdate_inclusive_ssm":["circa 1950s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16711","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/1404"],"text":["MSS 16711","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/1404","African American Freemason lodge photographs","Black-and-white photographs","The collection is open for research use.","On March 6, 1775, Prince Hall and 14 freed men of color (Cyrus Forbes; Bristol Stenzer; Thomas Sanderson; Prince Taylor; Cato Gardner; Boston Smith; Peter Best; Fortune Howard; Prince Reed; John Carter; Peter Freeman; Benjamin Tyler; Cuff Bufform; and Richard Tilledge) were denied membership into the White Freemasons of Massachusetts (located in Boston) and they petitioned to the Grand Lodge of England for their own charter, which they received on September 29, 1784. It marked the first time that African American men were made freemasons in America. This occurred during a time when African Americans needed a means by which to advance the cause of equality. Prince Hall looked to the Fraternal Order of Free and Accepted Masons because the chief purpose of Freemasonry is benevolence and charity to all mankind. In 1791, Worshipful Master Prince Hall was appointed a Provincial Grand Master of the first Black Provincial Grand Lodge.","King David Lodge No. 28 received its charter 12/16/1875 at the grand lodge session in Petersburg, VA. at First Baptist Church,  Silas H. Shackelford Sr. was the Worshipful Master. We were in the 12th  masonic district at that time, somewhere around or near 1920's we became a part of the 26th masonic district. King David Lodge No. 28 has always been a progressive, innovative and creative lodge looking out for its windows and  orphans taking care of its financial obligations to the grand lodge in a timely manner. Donating money to charitable and educational institutions. We will continue to build from within and network in new directions. ","Sources\nMiller, Yawu, \"Black Masons owe lineage to 18th century Boston pioneer Prince Hall\" The Bay State Banner, Boston, Massachusetts, February 8th, 2017\nhttps://www.baystatebanner.com/2017/02/08/black-masons-owe-lineage-to-18th-century-boston-pioneer-prince-hall/","King David lodge No. 28 website:\nhttp://kingdavid28.mylodgehelper.com/home/","Collection of eight black and white photographs.  All are group portraits of members of African American fraternal lodges in Virginia.  The images bare the stamps of several different photographers -- from Richmond, Chesapeake, and Virginia Beach.  Several images show handwritten annotations on the back -- one lodge is identified as Progressive Lodge #80 in Norfolk, another as King David Lodge #28 in Richmond (this photo is signed by 13 members of the lodge on the back), another as Willow Grove Lodge #198.","Albert and Shirley Small Special Collections Library","English"],"unitid_tesim":["MSS 16711","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/1404"],"normalized_title_ssm":["African American Freemason lodge photographs"],"collection_title_tesim":["African American Freemason lodge photographs"],"collection_ssim":["African American Freemason lodge photographs"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["This collection was purchased from Kate Mitas, Bookseller to the Small Special Collections Library on July 1, 2020."],"access_subjects_ssim":["Black-and-white photographs"],"access_subjects_ssm":["Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet 1 folder"],"extent_tesim":["0.03 Cubic Feet 1 folder"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959],"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\u003eOn March 6, 1775, Prince Hall and 14 freed men of color (Cyrus Forbes; Bristol Stenzer; Thomas Sanderson; Prince Taylor; Cato Gardner; Boston Smith; Peter Best; Fortune Howard; Prince Reed; John Carter; Peter Freeman; Benjamin Tyler; Cuff Bufform; and Richard Tilledge) were denied membership into the White Freemasons of Massachusetts (located in Boston) and they petitioned to the Grand Lodge of England for their own charter, which they received on September 29, 1784. It marked the first time that African American men were made freemasons in America. This occurred during a time when African Americans needed a means by which to advance the cause of equality. Prince Hall looked to the Fraternal Order of Free and Accepted Masons because the chief purpose of Freemasonry is benevolence and charity to all mankind. In 1791, Worshipful Master Prince Hall was appointed a Provincial Grand Master of the first Black Provincial Grand Lodge.\u003c/p\u003e\n","\u003cp\u003eKing David Lodge No. 28 received its charter 12/16/1875 at the grand lodge session in Petersburg, VA. at First Baptist Church,  Silas H. Shackelford Sr. was the Worshipful Master. We were in the 12th  masonic district at that time, somewhere around or near 1920's we became a part of the 26th masonic district. King David Lodge No. 28 has always been a progressive, innovative and creative lodge looking out for its windows and  orphans taking care of its financial obligations to the grand lodge in a timely manner. Donating money to charitable and educational institutions. We will continue to build from within and network in new directions. \u003c/p\u003e\n","\u003cp\u003eSources\nMiller, Yawu, \"Black Masons owe lineage to 18th century Boston pioneer Prince Hall\" The Bay State Banner, Boston, Massachusetts, February 8th, 2017\nhttps://www.baystatebanner.com/2017/02/08/black-masons-owe-lineage-to-18th-century-boston-pioneer-prince-hall/\u003c/p\u003e\n","\u003cp\u003eKing David lodge No. 28 website:\nhttp://kingdavid28.mylodgehelper.com/home/\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["On March 6, 1775, Prince Hall and 14 freed men of color (Cyrus Forbes; Bristol Stenzer; Thomas Sanderson; Prince Taylor; Cato Gardner; Boston Smith; Peter Best; Fortune Howard; Prince Reed; John Carter; Peter Freeman; Benjamin Tyler; Cuff Bufform; and Richard Tilledge) were denied membership into the White Freemasons of Massachusetts (located in Boston) and they petitioned to the Grand Lodge of England for their own charter, which they received on September 29, 1784. It marked the first time that African American men were made freemasons in America. This occurred during a time when African Americans needed a means by which to advance the cause of equality. Prince Hall looked to the Fraternal Order of Free and Accepted Masons because the chief purpose of Freemasonry is benevolence and charity to all mankind. In 1791, Worshipful Master Prince Hall was appointed a Provincial Grand Master of the first Black Provincial Grand Lodge.","King David Lodge No. 28 received its charter 12/16/1875 at the grand lodge session in Petersburg, VA. at First Baptist Church,  Silas H. Shackelford Sr. was the Worshipful Master. We were in the 12th  masonic district at that time, somewhere around or near 1920's we became a part of the 26th masonic district. King David Lodge No. 28 has always been a progressive, innovative and creative lodge looking out for its windows and  orphans taking care of its financial obligations to the grand lodge in a timely manner. Donating money to charitable and educational institutions. We will continue to build from within and network in new directions. ","Sources\nMiller, Yawu, \"Black Masons owe lineage to 18th century Boston pioneer Prince Hall\" The Bay State Banner, Boston, Massachusetts, February 8th, 2017\nhttps://www.baystatebanner.com/2017/02/08/black-masons-owe-lineage-to-18th-century-boston-pioneer-prince-hall/","King David lodge No. 28 website:\nhttp://kingdavid28.mylodgehelper.com/home/"],"prefercite_html_tesm":["\u003cp\u003eMSS 16711, African American freemason lodge photographs, Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16711, African American freemason lodge photographs, Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eCollection of eight black and white photographs.  All are group portraits of members of African American fraternal lodges in Virginia.  The images bare the stamps of several different photographers -- from Richmond, Chesapeake, and Virginia Beach.  Several images show handwritten annotations on the back -- one lodge is identified as Progressive Lodge #80 in Norfolk, another as King David Lodge #28 in Richmond (this photo is signed by 13 members of the lodge on the back), another as Willow Grove Lodge #198.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["Collection of eight black and white photographs.  All are group portraits of members of African American fraternal lodges in Virginia.  The images bare the stamps of several different photographers -- from Richmond, Chesapeake, and Virginia Beach.  Several images show handwritten annotations on the back -- one lodge is identified as Progressive Lodge #80 in Norfolk, another as King David Lodge #28 in Richmond (this photo is signed by 13 members of the lodge on the back), another as Willow Grove Lodge #198."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:52:00.356Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1404","ead_ssi":"viu_repositories_3_resources_1404","_root_":"viu_repositories_3_resources_1404","_nest_parent_":"viu_repositories_3_resources_1404","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1404.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/159808","title_filing_ssi":"African American Freemason Lodge photographs","title_ssm":["African American Freemason lodge photographs"],"title_tesim":["African American Freemason lodge photographs"],"unitdate_ssm":["circa 1950s"],"unitdate_inclusive_ssm":["circa 1950s"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16711","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/1404"],"text":["MSS 16711","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/1404","African American Freemason lodge photographs","Black-and-white photographs","The collection is open for research use.","On March 6, 1775, Prince Hall and 14 freed men of color (Cyrus Forbes; Bristol Stenzer; Thomas Sanderson; Prince Taylor; Cato Gardner; Boston Smith; Peter Best; Fortune Howard; Prince Reed; John Carter; Peter Freeman; Benjamin Tyler; Cuff Bufform; and Richard Tilledge) were denied membership into the White Freemasons of Massachusetts (located in Boston) and they petitioned to the Grand Lodge of England for their own charter, which they received on September 29, 1784. It marked the first time that African American men were made freemasons in America. This occurred during a time when African Americans needed a means by which to advance the cause of equality. Prince Hall looked to the Fraternal Order of Free and Accepted Masons because the chief purpose of Freemasonry is benevolence and charity to all mankind. In 1791, Worshipful Master Prince Hall was appointed a Provincial Grand Master of the first Black Provincial Grand Lodge.","King David Lodge No. 28 received its charter 12/16/1875 at the grand lodge session in Petersburg, VA. at First Baptist Church,  Silas H. Shackelford Sr. was the Worshipful Master. We were in the 12th  masonic district at that time, somewhere around or near 1920's we became a part of the 26th masonic district. King David Lodge No. 28 has always been a progressive, innovative and creative lodge looking out for its windows and  orphans taking care of its financial obligations to the grand lodge in a timely manner. Donating money to charitable and educational institutions. We will continue to build from within and network in new directions. ","Sources\nMiller, Yawu, \"Black Masons owe lineage to 18th century Boston pioneer Prince Hall\" The Bay State Banner, Boston, Massachusetts, February 8th, 2017\nhttps://www.baystatebanner.com/2017/02/08/black-masons-owe-lineage-to-18th-century-boston-pioneer-prince-hall/","King David lodge No. 28 website:\nhttp://kingdavid28.mylodgehelper.com/home/","Collection of eight black and white photographs.  All are group portraits of members of African American fraternal lodges in Virginia.  The images bare the stamps of several different photographers -- from Richmond, Chesapeake, and Virginia Beach.  Several images show handwritten annotations on the back -- one lodge is identified as Progressive Lodge #80 in Norfolk, another as King David Lodge #28 in Richmond (this photo is signed by 13 members of the lodge on the back), another as Willow Grove Lodge #198.","Albert and Shirley Small Special Collections Library","English"],"unitid_tesim":["MSS 16711","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/1404"],"normalized_title_ssm":["African American Freemason lodge photographs"],"collection_title_tesim":["African American Freemason lodge photographs"],"collection_ssim":["African American Freemason lodge photographs"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["This collection was purchased from Kate Mitas, Bookseller to the Small Special Collections Library on July 1, 2020."],"access_subjects_ssim":["Black-and-white photographs"],"access_subjects_ssm":["Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet 1 folder"],"extent_tesim":["0.03 Cubic Feet 1 folder"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959],"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\u003eOn March 6, 1775, Prince Hall and 14 freed men of color (Cyrus Forbes; Bristol Stenzer; Thomas Sanderson; Prince Taylor; Cato Gardner; Boston Smith; Peter Best; Fortune Howard; Prince Reed; John Carter; Peter Freeman; Benjamin Tyler; Cuff Bufform; and Richard Tilledge) were denied membership into the White Freemasons of Massachusetts (located in Boston) and they petitioned to the Grand Lodge of England for their own charter, which they received on September 29, 1784. It marked the first time that African American men were made freemasons in America. This occurred during a time when African Americans needed a means by which to advance the cause of equality. Prince Hall looked to the Fraternal Order of Free and Accepted Masons because the chief purpose of Freemasonry is benevolence and charity to all mankind. In 1791, Worshipful Master Prince Hall was appointed a Provincial Grand Master of the first Black Provincial Grand Lodge.\u003c/p\u003e\n","\u003cp\u003eKing David Lodge No. 28 received its charter 12/16/1875 at the grand lodge session in Petersburg, VA. at First Baptist Church,  Silas H. Shackelford Sr. was the Worshipful Master. We were in the 12th  masonic district at that time, somewhere around or near 1920's we became a part of the 26th masonic district. King David Lodge No. 28 has always been a progressive, innovative and creative lodge looking out for its windows and  orphans taking care of its financial obligations to the grand lodge in a timely manner. Donating money to charitable and educational institutions. We will continue to build from within and network in new directions. \u003c/p\u003e\n","\u003cp\u003eSources\nMiller, Yawu, \"Black Masons owe lineage to 18th century Boston pioneer Prince Hall\" The Bay State Banner, Boston, Massachusetts, February 8th, 2017\nhttps://www.baystatebanner.com/2017/02/08/black-masons-owe-lineage-to-18th-century-boston-pioneer-prince-hall/\u003c/p\u003e\n","\u003cp\u003eKing David lodge No. 28 website:\nhttp://kingdavid28.mylodgehelper.com/home/\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["On March 6, 1775, Prince Hall and 14 freed men of color (Cyrus Forbes; Bristol Stenzer; Thomas Sanderson; Prince Taylor; Cato Gardner; Boston Smith; Peter Best; Fortune Howard; Prince Reed; John Carter; Peter Freeman; Benjamin Tyler; Cuff Bufform; and Richard Tilledge) were denied membership into the White Freemasons of Massachusetts (located in Boston) and they petitioned to the Grand Lodge of England for their own charter, which they received on September 29, 1784. It marked the first time that African American men were made freemasons in America. This occurred during a time when African Americans needed a means by which to advance the cause of equality. Prince Hall looked to the Fraternal Order of Free and Accepted Masons because the chief purpose of Freemasonry is benevolence and charity to all mankind. In 1791, Worshipful Master Prince Hall was appointed a Provincial Grand Master of the first Black Provincial Grand Lodge.","King David Lodge No. 28 received its charter 12/16/1875 at the grand lodge session in Petersburg, VA. at First Baptist Church,  Silas H. Shackelford Sr. was the Worshipful Master. We were in the 12th  masonic district at that time, somewhere around or near 1920's we became a part of the 26th masonic district. King David Lodge No. 28 has always been a progressive, innovative and creative lodge looking out for its windows and  orphans taking care of its financial obligations to the grand lodge in a timely manner. Donating money to charitable and educational institutions. We will continue to build from within and network in new directions. ","Sources\nMiller, Yawu, \"Black Masons owe lineage to 18th century Boston pioneer Prince Hall\" The Bay State Banner, Boston, Massachusetts, February 8th, 2017\nhttps://www.baystatebanner.com/2017/02/08/black-masons-owe-lineage-to-18th-century-boston-pioneer-prince-hall/","King David lodge No. 28 website:\nhttp://kingdavid28.mylodgehelper.com/home/"],"prefercite_html_tesm":["\u003cp\u003eMSS 16711, African American freemason lodge photographs, Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16711, African American freemason lodge photographs, Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eCollection of eight black and white photographs.  All are group portraits of members of African American fraternal lodges in Virginia.  The images bare the stamps of several different photographers -- from Richmond, Chesapeake, and Virginia Beach.  Several images show handwritten annotations on the back -- one lodge is identified as Progressive Lodge #80 in Norfolk, another as King David Lodge #28 in Richmond (this photo is signed by 13 members of the lodge on the back), another as Willow Grove Lodge #198.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["Collection of eight black and white photographs.  All are group portraits of members of African American fraternal lodges in Virginia.  The images bare the stamps of several different photographers -- from Richmond, Chesapeake, and Virginia Beach.  Several images show handwritten annotations on the back -- one lodge is identified as Progressive Lodge #80 in Norfolk, another as King David Lodge #28 in Richmond (this photo is signed by 13 members of the lodge on the back), another as Willow Grove Lodge #198."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:52:00.356Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1404"}},{"id":"viu_repositories_3_resources_1737","type":"collection","attributes":{"title":"Benjamin Boblett Photographs of John Jackson","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1737#creator","type":"document_value","attributes":{"value":"Boblett, Benjamin, M.D.","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1737#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains three black and white photographs of musician John Jackson taken by physician and photographerBenjamin Boblett. John Jackson (1924–2002) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the Woodlawwn High School performance in 1975, and printed in 1976.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1737#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1737","ead_ssi":"viu_repositories_3_resources_1737","_root_":"viu_repositories_3_resources_1737","_nest_parent_":"viu_repositories_3_resources_1737","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1737.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/212824","title_filing_ssi":"Boblett, Benjamin Photographs of John Jackson","title_ssm":["Benjamin Boblett Photographs of John Jackson"],"title_tesim":["Benjamin Boblett Photographs of John Jackson"],"unitdate_ssm":["1975-1976","circa 1983"],"unitdate_inclusive_ssm":["1975-1976"],"unitdate_other_ssim":["circa 1983"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737"],"text":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737","Benjamin Boblett Photographs of John Jackson","Blues musicians - Virginia","African American musicians","Blues musicians","Black-and-white photographs","Good","This collections is open for research use.","Blues  artist , songster, and storyteller,  John Jackson  (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on  February 25, 1924 , the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. ","\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. ","Jackson  began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of  Blind Lemon Jefferson ,  Blind Blake ,  Blind Boy Fuller ,  Jimmie Rodgers , and  Ernest Tubb , as well as a wide range of gospel, ragtime, and country hymns. ","\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a  cook ,  butler ,  chauffeur , general  caretaker , and even a  gravedigger . Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to  Fairfax, Virginia , where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. ","\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in  1962  when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and  English  at the  University of Virginia ,  Charles Perdue  heard Jackson playing after stopping for gas and asked him to play for him. ","\nPerdue, who was involved with the  Folklore Society of Greater Washington , the  National Council for the Traditional Arts , and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional  musician , and help him become thoroughly successful on the folk circuit both at home and around the world ","\nFor the next thirty-plus years he was the Virginia/ Washington, D.C.  area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural  Piedmont region . ","\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. ","\nJohn Jackson received the National Heritage Fellowship in  1986  from the  National Endowment for the Arts  for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents  Jimmy Carter  and  Ronald Reagan , the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as  B.B. King ,  Eric Clapton ,  Bob Dylan ,  Bonnie Raitt , and  Ricky Scaggs .","\nJackson survived his wife,  Cora , who died in  October 1990 , three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on  January 20, 2002 . ","\nReference list:","Remembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ ","John Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson ","Pearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian ","Bernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ ","Pareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html","Photographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling.","This collection contains three black and white photographs of musician  John Jackson  taken by  physician  and  photographer Benjamin Boblett . John Jackson ( 1924 – 2002 ) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the  Woodlawwn High School  performance in  1975 , and printed in  1976 .","This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts","Jackson","Cora","Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. King","Eric Clapton","Bob Dylan","Bonnie Raitt","Ricky Scaggs","Jackson, John, 1924-2002","English"],"unitid_tesim":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737"],"normalized_title_ssm":["Benjamin Boblett Photographs of John Jackson"],"collection_title_tesim":["Benjamin Boblett Photographs of John Jackson"],"collection_ssim":["Benjamin Boblett Photographs of John Jackson"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Blues musicians - Virginia"],"geogname_ssim":["Blues musicians - Virginia"],"creator_ssm":["Boblett, Benjamin, M.D."],"creator_ssim":["Boblett, Benjamin, M.D."],"creator_persname_ssim":["Boblett, Benjamin, M.D."],"creators_ssim":["Boblett, Benjamin, M.D."],"places_ssim":["Blues musicians - Virginia"],"access_terms_ssm":["This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["The Benjamin Boblett Photographs of John Jackson was gifted from Benjamin Boblett and accepted by Krystal Appiah on September 07, 2023. It was accessioned by the Albert and Shirley Small Special Collections Library on December 14, 2023."],"access_subjects_ssim":["African American musicians","Blues musicians","Black-and-white photographs"],"access_subjects_ssm":["African American musicians","Blues musicians","Black-and-white photographs"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good"],"extent_ssm":[".13 Cubic Feet 1  oversized folder"],"extent_tesim":[".13 Cubic Feet 1  oversized folder"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1975,1976,1983],"accessrestrict_html_tesm":["\u003cp\u003eThis collections is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collections is open for research use."],"bioghist_html_tesm":["\u003cp\u003eBlues \u003coccupation\u003eartist\u003c/occupation\u003e, songster, and storyteller, \u003cpersname\u003eJohn Jackson\u003c/persname\u003e (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on \u003cdate\u003eFebruary 25, 1924\u003c/date\u003e, the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. \u003c/p\u003e\n","\u003cp\u003e\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. \u003c/p\u003e\n","\u003cp\u003e\n\u003cfamname\u003eJackson\u003c/famname\u003e began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of \u003cpersname\u003eBlind Lemon Jefferson\u003c/persname\u003e, \u003cpersname\u003eBlind Blake\u003c/persname\u003e, \u003cpersname\u003eBlind Boy Fuller\u003c/persname\u003e, \u003cpersname\u003eJimmie Rodgers\u003c/persname\u003e, and \u003cpersname\u003eErnest Tubb\u003c/persname\u003e, as well as a wide range of gospel, ragtime, and country hymns. \u003c/p\u003e\n","\u003cp\u003e\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a \u003coccupation\u003ecook\u003c/occupation\u003e, \u003coccupation\u003ebutler\u003c/occupation\u003e, \u003coccupation\u003echauffeur\u003c/occupation\u003e, general \u003coccupation\u003ecaretaker\u003c/occupation\u003e, and even a \u003coccupation\u003egravedigger\u003c/occupation\u003e. Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to \u003cgeogname\u003eFairfax, Virginia\u003c/geogname\u003e, where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. \u003c/p\u003e\n","\u003cp\u003e\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in \u003cdate\u003e1962\u003c/date\u003e when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and \u003clanguage\u003eEnglish\u003c/language\u003e at the \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003e, \u003cpersname\u003eCharles Perdue\u003c/persname\u003e heard Jackson playing after stopping for gas and asked him to play for him. \u003c/p\u003e\n","\u003cp\u003e\nPerdue, who was involved with the \u003ccorpname\u003eFolklore Society of Greater Washington\u003c/corpname\u003e, the \u003ccorpname\u003eNational Council for the Traditional Arts\u003c/corpname\u003e, and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional \u003coccupation\u003emusician\u003c/occupation\u003e, and help him become thoroughly successful on the folk circuit both at home and around the world \u003c/p\u003e\n","\u003cp\u003e\nFor the next thirty-plus years he was the Virginia/\u003cgeogname\u003eWashington, D.C.\u003c/geogname\u003e area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural \u003cgeogname\u003ePiedmont region\u003c/geogname\u003e. \u003c/p\u003e\n","\u003cp\u003e\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. \u003c/p\u003e\n","\u003cp\u003e\nJohn Jackson received the National Heritage Fellowship in \u003cdate\u003e1986\u003c/date\u003e from the \u003ccorpname\u003eNational Endowment for the Arts\u003c/corpname\u003e for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents \u003cpersname\u003eJimmy Carter\u003c/persname\u003e and \u003cpersname\u003eRonald Reagan\u003c/persname\u003e, the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as \u003cpersname\u003eB.B. King\u003c/persname\u003e, \u003cpersname\u003eEric Clapton\u003c/persname\u003e, \u003cpersname\u003eBob Dylan\u003c/persname\u003e, \u003cpersname\u003eBonnie Raitt\u003c/persname\u003e, and \u003cpersname\u003eRicky Scaggs\u003c/persname\u003e.\u003c/p\u003e\n","\u003cp\u003e\nJackson survived his wife, \u003cname\u003eCora\u003c/name\u003e, who died in \u003cdate\u003eOctober 1990\u003c/date\u003e, three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on \u003cdate\u003eJanuary 20, 2002\u003c/date\u003e. \u003c/p\u003e\n","\u003cp\u003e\nReference list:\u003c/p\u003e\n","\u003cp\u003eRemembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ \u003c/p\u003e\n","\u003cp\u003eJohn Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson \u003c/p\u003e\n","\u003cp\u003ePearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian \u003c/p\u003e\n","\u003cp\u003eBernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ \u003c/p\u003e\n","\u003cp\u003ePareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Blues  artist , songster, and storyteller,  John Jackson  (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on  February 25, 1924 , the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. ","\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. ","Jackson  began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of  Blind Lemon Jefferson ,  Blind Blake ,  Blind Boy Fuller ,  Jimmie Rodgers , and  Ernest Tubb , as well as a wide range of gospel, ragtime, and country hymns. ","\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a  cook ,  butler ,  chauffeur , general  caretaker , and even a  gravedigger . Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to  Fairfax, Virginia , where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. ","\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in  1962  when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and  English  at the  University of Virginia ,  Charles Perdue  heard Jackson playing after stopping for gas and asked him to play for him. ","\nPerdue, who was involved with the  Folklore Society of Greater Washington , the  National Council for the Traditional Arts , and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional  musician , and help him become thoroughly successful on the folk circuit both at home and around the world ","\nFor the next thirty-plus years he was the Virginia/ Washington, D.C.  area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural  Piedmont region . ","\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. ","\nJohn Jackson received the National Heritage Fellowship in  1986  from the  National Endowment for the Arts  for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents  Jimmy Carter  and  Ronald Reagan , the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as  B.B. King ,  Eric Clapton ,  Bob Dylan ,  Bonnie Raitt , and  Ricky Scaggs .","\nJackson survived his wife,  Cora , who died in  October 1990 , three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on  January 20, 2002 . ","\nReference list:","Remembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ ","John Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson ","Pearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian ","Bernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ ","Pareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html"],"odd_html_tesm":["\u003cp\u003ePhotographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling.\u003c/p\u003e"],"odd_heading_ssm":["Conservation - Handling and Care"],"odd_tesim":["Photographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling."],"prefercite_html_tesm":["\u003cp\u003eMSS 16873, Benjamin Boblett Photographs of John Jackson, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16873, Benjamin Boblett Photographs of John Jackson, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains three black and white photographs of musician \u003cpersname\u003eJohn Jackson\u003c/persname\u003e taken by \u003coccupation\u003ephysician\u003c/occupation\u003e and \u003coccupation\u003ephotographer\u003c/occupation\u003e \u003cpersname\u003eBenjamin Boblett\u003c/persname\u003e. John Jackson (\u003cdate\u003e1924\u003c/date\u003e–\u003cdate\u003e2002\u003c/date\u003e) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the \u003ccorpname\u003eWoodlawwn High School\u003c/corpname\u003e performance in \u003cdate\u003e1975\u003c/date\u003e, and printed in \u003cdate\u003e1976\u003c/date\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains three black and white photographs of musician  John Jackson  taken by  physician  and  photographer Benjamin Boblett . John Jackson ( 1924 – 2002 ) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the  Woodlawwn High School  performance in  1975 , and printed in  1976 ."],"userestrict_html_tesm":["\u003cp\u003eThis collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_ssim":["Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts","Jackson","Cora","Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. King","Eric Clapton","Bob Dylan","Bonnie Raitt","Ricky Scaggs","Jackson, John, 1924-2002"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts"],"famname_ssim":["Jackson"],"name_ssim":["Cora"],"names_coll_ssim":["Jackson, John, 1924-2002"],"persname_ssim":["Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. King","Eric Clapton","Bob Dylan","Bonnie Raitt","Ricky Scaggs","Jackson, John, 1924-2002"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:25:52.359Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1737","ead_ssi":"viu_repositories_3_resources_1737","_root_":"viu_repositories_3_resources_1737","_nest_parent_":"viu_repositories_3_resources_1737","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1737.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/212824","title_filing_ssi":"Boblett, Benjamin Photographs of John Jackson","title_ssm":["Benjamin Boblett Photographs of John Jackson"],"title_tesim":["Benjamin Boblett Photographs of John Jackson"],"unitdate_ssm":["1975-1976","circa 1983"],"unitdate_inclusive_ssm":["1975-1976"],"unitdate_other_ssim":["circa 1983"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737"],"text":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737","Benjamin Boblett Photographs of John Jackson","Blues musicians - Virginia","African American musicians","Blues musicians","Black-and-white photographs","Good","This collections is open for research use.","Blues  artist , songster, and storyteller,  John Jackson  (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on  February 25, 1924 , the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. ","\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. ","Jackson  began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of  Blind Lemon Jefferson ,  Blind Blake ,  Blind Boy Fuller ,  Jimmie Rodgers , and  Ernest Tubb , as well as a wide range of gospel, ragtime, and country hymns. ","\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a  cook ,  butler ,  chauffeur , general  caretaker , and even a  gravedigger . Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to  Fairfax, Virginia , where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. ","\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in  1962  when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and  English  at the  University of Virginia ,  Charles Perdue  heard Jackson playing after stopping for gas and asked him to play for him. ","\nPerdue, who was involved with the  Folklore Society of Greater Washington , the  National Council for the Traditional Arts , and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional  musician , and help him become thoroughly successful on the folk circuit both at home and around the world ","\nFor the next thirty-plus years he was the Virginia/ Washington, D.C.  area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural  Piedmont region . ","\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. ","\nJohn Jackson received the National Heritage Fellowship in  1986  from the  National Endowment for the Arts  for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents  Jimmy Carter  and  Ronald Reagan , the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as  B.B. King ,  Eric Clapton ,  Bob Dylan ,  Bonnie Raitt , and  Ricky Scaggs .","\nJackson survived his wife,  Cora , who died in  October 1990 , three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on  January 20, 2002 . ","\nReference list:","Remembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ ","John Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson ","Pearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian ","Bernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ ","Pareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html","Photographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling.","This collection contains three black and white photographs of musician  John Jackson  taken by  physician  and  photographer Benjamin Boblett . John Jackson ( 1924 – 2002 ) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the  Woodlawwn High School  performance in  1975 , and printed in  1976 .","This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.","Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts","Jackson","Cora","Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. King","Eric Clapton","Bob Dylan","Bonnie Raitt","Ricky Scaggs","Jackson, John, 1924-2002","English"],"unitid_tesim":["MSS 16873","Archival Resource Key","/repositories/3/resources/1737"],"normalized_title_ssm":["Benjamin Boblett Photographs of John Jackson"],"collection_title_tesim":["Benjamin Boblett Photographs of John Jackson"],"collection_ssim":["Benjamin Boblett Photographs of John Jackson"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"geogname_ssm":["Blues musicians - Virginia"],"geogname_ssim":["Blues musicians - Virginia"],"creator_ssm":["Boblett, Benjamin, M.D."],"creator_ssim":["Boblett, Benjamin, M.D."],"creator_persname_ssim":["Boblett, Benjamin, M.D."],"creators_ssim":["Boblett, Benjamin, M.D."],"places_ssim":["Blues musicians - Virginia"],"access_terms_ssm":["This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"acqinfo_ssim":["The Benjamin Boblett Photographs of John Jackson was gifted from Benjamin Boblett and accepted by Krystal Appiah on September 07, 2023. It was accessioned by the Albert and Shirley Small Special Collections Library on December 14, 2023."],"access_subjects_ssim":["African American musicians","Blues musicians","Black-and-white photographs"],"access_subjects_ssm":["African American musicians","Blues musicians","Black-and-white photographs"],"has_online_content_ssim":["false"],"physdesc_tesim":["Good"],"extent_ssm":[".13 Cubic Feet 1  oversized folder"],"extent_tesim":[".13 Cubic Feet 1  oversized folder"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1975,1976,1983],"accessrestrict_html_tesm":["\u003cp\u003eThis collections is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collections is open for research use."],"bioghist_html_tesm":["\u003cp\u003eBlues \u003coccupation\u003eartist\u003c/occupation\u003e, songster, and storyteller, \u003cpersname\u003eJohn Jackson\u003c/persname\u003e (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on \u003cdate\u003eFebruary 25, 1924\u003c/date\u003e, the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. \u003c/p\u003e\n","\u003cp\u003e\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. \u003c/p\u003e\n","\u003cp\u003e\n\u003cfamname\u003eJackson\u003c/famname\u003e began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of \u003cpersname\u003eBlind Lemon Jefferson\u003c/persname\u003e, \u003cpersname\u003eBlind Blake\u003c/persname\u003e, \u003cpersname\u003eBlind Boy Fuller\u003c/persname\u003e, \u003cpersname\u003eJimmie Rodgers\u003c/persname\u003e, and \u003cpersname\u003eErnest Tubb\u003c/persname\u003e, as well as a wide range of gospel, ragtime, and country hymns. \u003c/p\u003e\n","\u003cp\u003e\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a \u003coccupation\u003ecook\u003c/occupation\u003e, \u003coccupation\u003ebutler\u003c/occupation\u003e, \u003coccupation\u003echauffeur\u003c/occupation\u003e, general \u003coccupation\u003ecaretaker\u003c/occupation\u003e, and even a \u003coccupation\u003egravedigger\u003c/occupation\u003e. Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to \u003cgeogname\u003eFairfax, Virginia\u003c/geogname\u003e, where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. \u003c/p\u003e\n","\u003cp\u003e\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in \u003cdate\u003e1962\u003c/date\u003e when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and \u003clanguage\u003eEnglish\u003c/language\u003e at the \u003ccorpname\u003eUniversity of Virginia\u003c/corpname\u003e, \u003cpersname\u003eCharles Perdue\u003c/persname\u003e heard Jackson playing after stopping for gas and asked him to play for him. \u003c/p\u003e\n","\u003cp\u003e\nPerdue, who was involved with the \u003ccorpname\u003eFolklore Society of Greater Washington\u003c/corpname\u003e, the \u003ccorpname\u003eNational Council for the Traditional Arts\u003c/corpname\u003e, and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional \u003coccupation\u003emusician\u003c/occupation\u003e, and help him become thoroughly successful on the folk circuit both at home and around the world \u003c/p\u003e\n","\u003cp\u003e\nFor the next thirty-plus years he was the Virginia/\u003cgeogname\u003eWashington, D.C.\u003c/geogname\u003e area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural \u003cgeogname\u003ePiedmont region\u003c/geogname\u003e. \u003c/p\u003e\n","\u003cp\u003e\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. \u003c/p\u003e\n","\u003cp\u003e\nJohn Jackson received the National Heritage Fellowship in \u003cdate\u003e1986\u003c/date\u003e from the \u003ccorpname\u003eNational Endowment for the Arts\u003c/corpname\u003e for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents \u003cpersname\u003eJimmy Carter\u003c/persname\u003e and \u003cpersname\u003eRonald Reagan\u003c/persname\u003e, the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as \u003cpersname\u003eB.B. King\u003c/persname\u003e, \u003cpersname\u003eEric Clapton\u003c/persname\u003e, \u003cpersname\u003eBob Dylan\u003c/persname\u003e, \u003cpersname\u003eBonnie Raitt\u003c/persname\u003e, and \u003cpersname\u003eRicky Scaggs\u003c/persname\u003e.\u003c/p\u003e\n","\u003cp\u003e\nJackson survived his wife, \u003cname\u003eCora\u003c/name\u003e, who died in \u003cdate\u003eOctober 1990\u003c/date\u003e, three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on \u003cdate\u003eJanuary 20, 2002\u003c/date\u003e. \u003c/p\u003e\n","\u003cp\u003e\nReference list:\u003c/p\u003e\n","\u003cp\u003eRemembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ \u003c/p\u003e\n","\u003cp\u003eJohn Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson \u003c/p\u003e\n","\u003cp\u003ePearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian \u003c/p\u003e\n","\u003cp\u003eBernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ \u003c/p\u003e\n","\u003cp\u003ePareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Blues  artist , songster, and storyteller,  John Jackson  (February 25, 1924 – January 20, 2002) was the most important black Appalachian musician to come to broad public attention during the mid-1960s. He was born on  February 25, 1924 , the seventh of fourteen children, in Rappahannock County, VA. His father and mother were tenant farmers, whose children grew up helping out with the farming, cutting timber, herding cows, and doing whatever was needed to support their family. ","\nJackson's parents and siblings all played some combinations of guitar, banjo, ukulele, mandolin, harmonica, accordion, autoharp, and even homemade penny whistles. Jackson's father was well known in the area and traveled around the county to parties and dances, playing the blues, old mountain songs, and other regional music. His mother played and sang spiritual songs. ","Jackson  began playing his father's guitar when he was four. He learned how to play from his father, by watching the other musicians he saw performing at local gatherings, and from a man known as Happy, in a month-long series of guitar lessons. Jackson's older sister purchased a guitar for him when he was nine years old. He also learned from phonograph records. He was fond of the music of  Blind Lemon Jefferson ,  Blind Blake ,  Blind Boy Fuller ,  Jimmie Rodgers , and  Ernest Tubb , as well as a wide range of gospel, ragtime, and country hymns. ","\nLike his father, Jackson performed at house parties, although music was something reserved for evenings and weekends, as he had multiple jobs including working as a  cook ,  butler ,  chauffeur , general  caretaker , and even a  gravedigger . Jackson already had a young wife and a family of his own when he left his parents' farm at 25 years old. He moved with his wife and children to  Fairfax, Virginia , where he worked on another farm, other occasional jobs such as chopping and hauling firewood and digging graves. ","\nCircumstances led Jackson to give up the house party circuit and retire from public performances for nearly 20 years. But Jackson began his return to playing music in  1962  when he played for children that were playing in his yard, and later when he agreed to giving guitar lessons to his mailman. It was during one of these lessons that took place at the gas station where the mailman worked at night that professor of folklore and  English  at the  University of Virginia ,  Charles Perdue  heard Jackson playing after stopping for gas and asked him to play for him. ","\nPerdue, who was involved with the  Folklore Society of Greater Washington , the  National Council for the Traditional Arts , and the effort to record and preserve folk music across Virginia introduced Jackson to other blues and folk musicians in the region and across the country. Perdue championed Jackson's playing to help establish him as a professional  musician , and help him become thoroughly successful on the folk circuit both at home and around the world ","\nFor the next thirty-plus years he was the Virginia/ Washington, D.C.  area's most prominent traditional artist. He was a festival favorite who also hosted the musical house parties in the region. Jackson toured widely across the United States and abroad, making numerous recordings, playing his distinctive Piedmont guitar blues, and also performing on the banjo. He is one of the few African American musicians to play the blues on the banjo, which he learned growing up in the rural  Piedmont region . ","\nJackson drew attention to the rich musical traditions of Appalachia and advocated for the quantity and quality of local Virginia artists. However, although Jackson recalled a thriving blues guitar tradition in his home community, few black Virginians were recorded. During the 1920s and 1930s only three musicians produced a significant body of recordings. ","\nJohn Jackson received the National Heritage Fellowship in  1986  from the  National Endowment for the Arts  for his role as a teacher and traditional artist, which is America's highest honor in the folk music world. Jackson performed for Presidents  Jimmy Carter  and  Ronald Reagan , the US Congress, many European heads of state, and in Carnegie and Royal Albert Hall. He played with famous musicians such as  B.B. King ,  Eric Clapton ,  Bob Dylan ,  Bonnie Raitt , and  Ricky Scaggs .","\nJackson survived his wife,  Cora , who died in  October 1990 , three sons, and one daughter. He performed his last show on New Year's Eve 2002 and died on  January 20, 2002 . ","\nReference list:","Remembering John Jackson. (2025). Eldon Farms. https://eldonfarms.com/john-jackson/ ","John Jackson, African-American Songster/Guitarist. (n.d.) National Endowment for the Arts. https://www.arts.gov/honors/heritage/john-jackson ","Pearson, B.L. (2024). Rappahannock Blues: John Jackson. Smithsonian Folkways Magazine. https://folkways.si.edu/magazine-summer-2010-rappahannock-blues-john-jackson/african-american-music/article/smithsonian ","Bernstein, A. (2002, January 21). Bluesman John Jackson Dies, Gained World Fame. The Washington Post. https://www.washingtonpost.com/archive/local/2002/01/22/bluesman-john-jackson-dies/d67f1f35-a38c-4794-aa1c-a0847ddf1e84/ ","Pareles, J. (2002, January 29). John Jackson, 77, Guitarist and Singer in Piedmont Style. The New York Times. https://www.nytimes.com/2002/01/29/arts/john-jackson-77-guitarist-and-singer-in-piedmont-style.html"],"odd_html_tesm":["\u003cp\u003ePhotographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling.\u003c/p\u003e"],"odd_heading_ssm":["Conservation - Handling and Care"],"odd_tesim":["Photographs are in protective sleeves. If they need to be removed, latex or nitrile gloves are required for care and handling."],"prefercite_html_tesm":["\u003cp\u003eMSS 16873, Benjamin Boblett Photographs of John Jackson, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16873, Benjamin Boblett Photographs of John Jackson, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains three black and white photographs of musician \u003cpersname\u003eJohn Jackson\u003c/persname\u003e taken by \u003coccupation\u003ephysician\u003c/occupation\u003e and \u003coccupation\u003ephotographer\u003c/occupation\u003e \u003cpersname\u003eBenjamin Boblett\u003c/persname\u003e. John Jackson (\u003cdate\u003e1924\u003c/date\u003e–\u003cdate\u003e2002\u003c/date\u003e) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the \u003ccorpname\u003eWoodlawwn High School\u003c/corpname\u003e performance in \u003cdate\u003e1975\u003c/date\u003e, and printed in \u003cdate\u003e1976\u003c/date\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains three black and white photographs of musician  John Jackson  taken by  physician  and  photographer Benjamin Boblett . John Jackson ( 1924 – 2002 ) was an American Piedmont Blues Musician. Jackson played an important role in highlighting the Appalachian musical traditions. The photographs are annotated and signed by the artist. Two studio photographs (16\"X20\") were taken in approximately 1983. The other performance photograph (8.5\"X11\") was taken at the  Woodlawwn High School  performance in  1975 , and printed in  1976 ."],"userestrict_html_tesm":["\u003cp\u003eThis collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["This collection contains some in-copyright material. Visit our Permissions and Publishing page (https://www.library.virginia.edu/special-collections/services/publishing) for more information about use of Special Collections materials. The library can provide copyright information upon request, but users are responsible for making their own determination about lawful use of collections materials."],"names_ssim":["Albert and Shirley Small Special Collections Library","Woodlawwn High School","University of Virginia","Folklore Society of Greater Washington","National Council for the Traditional Arts","National Endowment for the Arts","Jackson","Cora","Boblett, Benjamin, M.D.","John Jackson","Benjamin Boblett","Blind Lemon Jefferson","Blind Blake","Blind Boy Fuller","Jimmie Rodgers","Ernest Tubb","Charles Perdue","Jimmy Carter","Ronald Reagan","B.B. 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Curtis photograph albums (1880s; 0.5 cubic feet) contain 76 photographs (albumen prints, most mounted, some hand-colored, probably commercially produced and sold) of views and people in China, Hong Kong, Japan, Korea, Thailand, and Burma, collected by U.S. Navy officer Clinton K. Curtis.","Albert and Shirley Small Special Collections Library","Materials are in English."],"unitid_tesim":["MSS 16404","Archival Resource Key","/repositories/3/resources/795"],"normalized_title_ssm":["Clinton K. Curtis photograph albums"],"collection_title_tesim":["Clinton K. Curtis photograph albums"],"collection_ssim":["Clinton K. Curtis photograph albums"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["Accession 2017 0108 Donated by Randolph T. Pendleton, 17 June 2016."],"access_subjects_ssim":["Photograph albums","Black-and-white photographs"],"access_subjects_ssm":["Photograph albums","Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.5 Cubic Feet 2 volumes"],"extent_tesim":["0.5 Cubic Feet 2 volumes"],"genreform_ssim":["Photograph albums","Black-and-white photographs"],"date_range_isim":[1880,1881,1882,1883,1884,1885,1886,1887,1888,1889],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research use.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eClinton K. Curtis (1849-1906) was born in West Liberty, West Virginia. Curtis joined the U.S. Navy in 1865, and during the 1880s he spent much of his service travelling between various east and south Asian countries.\u003c/p\u003e\n","\u003cp\u003eSources: Materials within collection, http://www.lindapages.com/wvcw/12wvi/12-wbcurtis.htm, and https://www.findagrave.com/memorial/27200151/clinton-kidd-curtis.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Clinton K. Curtis (1849-1906) was born in West Liberty, West Virginia. Curtis joined the U.S. Navy in 1865, and during the 1880s he spent much of his service travelling between various east and south Asian countries.","Sources: Materials within collection, http://www.lindapages.com/wvcw/12wvi/12-wbcurtis.htm, and https://www.findagrave.com/memorial/27200151/clinton-kidd-curtis."],"prefercite_html_tesm":["\u003cp\u003eMSS 16404, Clinton K. Curtis photograph albums, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16404, Clinton K. Curtis photograph albums, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe Clinton K. Curtis photograph albums (1880s; 0.5 cubic feet) contain 76 photographs (albumen prints, most mounted, some hand-colored, probably commercially produced and sold) of views and people in China, Hong Kong, Japan, Korea, Thailand, and Burma, collected by U.S. Navy officer Clinton K. Curtis.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["The Clinton K. Curtis photograph albums (1880s; 0.5 cubic feet) contain 76 photographs (albumen prints, most mounted, some hand-colored, probably commercially produced and sold) of views and people in China, Hong Kong, Japan, Korea, Thailand, and Burma, collected by U.S. Navy officer Clinton K. Curtis."],"names_ssim":["Albert and Shirley Small Special Collections Library"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"language_ssim":["Materials are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:53:10.692Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_795"}},{"id":"viu_repositories_3_resources_1554","type":"collection","attributes":{"title":"Collection of photographs of African American Women in Chicago","creator":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1554#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1554#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1554#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1554","ead_ssi":"viu_repositories_3_resources_1554","_root_":"viu_repositories_3_resources_1554","_nest_parent_":"viu_repositories_3_resources_1554","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1554.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190889","title_filing_ssi":"African American Women in Chicago","title_ssm":["Collection of photographs of African American Women in Chicago"],"title_tesim":["Collection of photographs of African American Women in Chicago"],"unitdate_ssm":["c. 1942-1954"],"unitdate_bulk_ssim":["c. 1942-1954"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554"],"text":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554","Collection of photographs of African American Women in Chicago","Young adults","African Americans","Black-and-white photographs","Lucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city. ","Sources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm","This collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.","The photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"","Some photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints. ","Also included is a single page with drawings of a woman in a gown on the recto and verso with notes. ","The collection is open for research use.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"unitid_tesim":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554"],"normalized_title_ssm":["Collection of photographs of African American Women in Chicago"],"collection_title_tesim":["Collection of photographs of African American Women in Chicago"],"collection_ssim":["Collection of photographs of African American Women in Chicago"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Max Rambod"],"creators_ssim":["Max Rambod"],"access_terms_ssm":["The collection is open for research use."],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on 01 March 2023."],"access_subjects_ssim":["Young adults","African Americans","Black-and-white photographs"],"access_subjects_ssm":["Young adults","African Americans","Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.06 Cubic Feet Two letter-sized folders"],"extent_tesim":["0.06 Cubic Feet Two letter-sized folders"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954],"bioghist_html_tesm":["\u003cp\u003eLucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city. \u003c/p\u003e\n","\u003cp\u003eSources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Lucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city. ","Sources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm"],"prefercite_html_tesm":["\u003cp\u003eMSS 16797, African American Women in Chicago, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16797, African American Women in Chicago, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.\u003c/p\u003e\n","\u003cp\u003eThe photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"\u003c/p\u003e\n","\u003cp\u003eSome photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints. \u003c/p\u003e\n","\u003cp\u003eAlso included is a single page with drawings of a woman in a gown on the recto and verso with notes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.","The photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"","Some photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints. ","Also included is a single page with drawings of a woman in a gown on the recto and verso with notes. "],"userestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is open for research use."],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:43:30.456Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1554","ead_ssi":"viu_repositories_3_resources_1554","_root_":"viu_repositories_3_resources_1554","_nest_parent_":"viu_repositories_3_resources_1554","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1554.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190889","title_filing_ssi":"African American Women in Chicago","title_ssm":["Collection of photographs of African American Women in Chicago"],"title_tesim":["Collection of photographs of African American Women in Chicago"],"unitdate_ssm":["c. 1942-1954"],"unitdate_bulk_ssim":["c. 1942-1954"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554"],"text":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554","Collection of photographs of African American Women in Chicago","Young adults","African Americans","Black-and-white photographs","Lucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city. ","Sources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm","This collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.","The photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"","Some photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints. ","Also included is a single page with drawings of a woman in a gown on the recto and verso with notes. ","The collection is open for research use.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"unitid_tesim":["MSS 16797","Archival Resource Key","/repositories/3/resources/1554"],"normalized_title_ssm":["Collection of photographs of African American Women in Chicago"],"collection_title_tesim":["Collection of photographs of African American Women in Chicago"],"collection_ssim":["Collection of photographs of African American Women in Chicago"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Max Rambod"],"creators_ssim":["Max Rambod"],"access_terms_ssm":["The collection is open for research use."],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on 01 March 2023."],"access_subjects_ssim":["Young adults","African Americans","Black-and-white photographs"],"access_subjects_ssm":["Young adults","African Americans","Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.06 Cubic Feet Two letter-sized folders"],"extent_tesim":["0.06 Cubic Feet Two letter-sized folders"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954],"bioghist_html_tesm":["\u003cp\u003eLucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city. \u003c/p\u003e\n","\u003cp\u003eSources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Lucy Flower Technical High School for Girls (Flower Tech), constructed in 1927, is significant as the only all-girl public school and the only female vocational school in Chicago's history. The school, is located in the residential Garfield Park neighborhood of Chicago, Illinois.  Flower Tech was the only high school in Chicago run by a female superintendent, principal, and all-female faculty that catered to an entirely female student body. By combining home economics with technical training for the female workforce, the curriculum at Flower Tech exposed the paradox of women's high school education in 20th century America by offering gendered coursework for work in the home and the factory. As Chicago's only open-enrollment high school for girls, Flower Tech created an unparalleled education experience for African American, Anglo-American, and immigrant female students to study alongside one another. Flower Tech not only furthered career and college ambitions, but provided many students one of their only racially-integrated experiences in an otherwise segregated city. ","Sources:\nLucy Flower Technical High School for Girls. National Park Service. Accessed 27 June 2023.\nhttps://www.nps.gov/places/lucy-flower-technical-high-school-for-girls.htm"],"prefercite_html_tesm":["\u003cp\u003eMSS 16797, African American Women in Chicago, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e"],"prefercite_tesim":["MSS 16797, African American Women in Chicago, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.\u003c/p\u003e\n","\u003cp\u003eThe photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"\u003c/p\u003e\n","\u003cp\u003eSome photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints. \u003c/p\u003e\n","\u003cp\u003eAlso included is a single page with drawings of a woman in a gown on the recto and verso with notes. \u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains thirty-one photographs of young Black women in Chicago in 1940s-1950s.","The photographs document the youth of a young woman named Bea and several of her friends Nedra, Vera, and others. Included are class photographs from Forestville Elementary School and Lucy Flower Technical High School. Flower Tech was an integrated school for girls. There are photographs of their prom, jazz clubs, and the girls out on dates, celebrating, and having fun. The jazz club featured, is the Club De Lisa, which showcased many well-known performers in the era, such as Count Basie, Sun Ra, and many more, before its closure in 1958. There is a photograph taken at the Thumboogie located near Hyde Park, which featured jazz, bebop, soul, and Rhythm and Blues. It's co-owner was Joe Louis in the 1940's.  Bea's friend, Vera is in a photograph dressed in a burlesque costume \"Backstage at the Howard Theater in January 1953.\"","Some photographs are in partial album pages with captions; others are loose, usually with annotations on the back. Most are black and white silver gelatin prints. ","Also included is a single page with drawings of a woman in a gown on the recto and verso with notes. "],"userestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The collection is open for research use."],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-20T23:43:30.456Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://arvasarchive.org/catalog/viu_repositories_3_resources_1554"}},{"id":"viu_repositories_3_resources_911","type":"collection","attributes":{"title":"Colleton estate photographs","abstract_or_scope":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_911#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThe Colleton estate photographs (circa 1890s-1910; 0.04 cubic foot) document the appearance of Colleton, a Cabell family estate in Nelson County. Materials include ten mounted photographs of the Colleton house and one photograph of the nearby James River. Colleton photograph subjects include rooms like the ballroom and library, along with a childhood portrait of Evelyn Byrd Robinson on the building's porch.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://arvasarchive.org/catalog/viu_repositories_3_resources_911#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_911","ead_ssi":"viu_repositories_3_resources_911","_root_":"viu_repositories_3_resources_911","_nest_parent_":"viu_repositories_3_resources_911","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_911.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/811","title_filing_ssi":"Colleton estate photographs","title_ssm":["Colleton estate photographs"],"title_tesim":["Colleton estate photographs"],"unitdate_ssm":["circa 1890s-1910"],"unitdate_inclusive_ssm":["circa 1890s-1910"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16440","Archival Resource Key","/repositories/3/resources/911"],"text":["MSS 16440","Archival Resource Key","/repositories/3/resources/911","Colleton estate photographs","Black-and-white photographs","The collection is open for research use.","Colleton was a Cabell family estate on the James River in Nelson county. Colleton was owned during the late 19th and early 20th century by Evelyn Carter Robinson (1844-1910), née Cabell, who married William Russell Robinson. Upon her death, Cabell left Colleton to her two sons: Wirt and Clifford Cabell. ","According to an inscription on one of the photographs in the collection, Colleton was destroyed by neglect and was no longer standing by 1970.","Source: Materials within collection, Virginia Museum of History and Culture.","A related Cabell family collection can be found at MSS 38-111-b, Papers of the Cabell family, Albert and Shirley Small Special Collections Library, University of Virginia.","The Colleton estate photographs (circa 1890s-1910; 0.04 cubic foot) document the appearance of Colleton, a Cabell family estate in Nelson County. Materials include ten mounted photographs of the Colleton house and one photograph of the nearby James River. 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Colleton photograph subjects include rooms like the ballroom and library, along with a childhood portrait of Evelyn Byrd Robinson on the building's porch.","The collection also contains a copy of Robinson's will, where she divides Colleton between her two sons, Wirt and Clifford Cabell.","Albert and Shirley Small Special Collections Library","Materials are in English."],"unitid_tesim":["MSS 16440","Archival Resource Key","/repositories/3/resources/911"],"normalized_title_ssm":["Colleton estate photographs"],"collection_title_tesim":["Colleton estate photographs"],"collection_ssim":["Colleton estate photographs"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["Accession 2019-0239 Purchased, 8 April 2019; Robert and Virginia Tunstall Trust Fund, 2018/2019."],"access_subjects_ssim":["Black-and-white photographs"],"access_subjects_ssm":["Black-and-white photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.04 Cubic Feet 1 folder"],"extent_tesim":["0.04 Cubic Feet 1 folder"],"genreform_ssim":["Black-and-white photographs"],"date_range_isim":[1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910],"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\u003eColleton was a Cabell family estate on the James River in Nelson county. 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","According to an inscription on one of the photographs in the collection, Colleton was destroyed by neglect and was no longer standing by 1970.","Source: Materials within collection, Virginia Museum of History and Culture."],"prefercite_html_tesm":["\u003cp\u003eMSS 16440, Colleton estate photographs, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"prefercite_tesim":["MSS 16440, Colleton estate photographs, Albert and Shirley Small Special Collections Library, University of Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eA related Cabell family collection can be found at MSS 38-111-b, Papers of the Cabell family, Albert and Shirley Small Special Collections Library, University of Virginia.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["A related Cabell family collection can be found at MSS 38-111-b, Papers of the Cabell family, Albert and Shirley Small Special Collections Library, University of Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe Colleton estate photographs (circa 1890s-1910; 0.04 cubic foot) document the appearance of Colleton, a Cabell family estate in Nelson County. 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