About Graham Stinnett

Curator of Human Rights Collections and Alternative Press Collections, Archives & Special Collections at the Thomas J. Dodd Research Center, University of Connecticut. Stinnett holds a Master’s degree in Archival Studies from the History Department at the University of Manitoba, where he also earned a Bachelor’s degree in Latin American History. Stinnett's graduate work focused on human rights non-governmental organizations and their importance to archives and the role of archivist as activist. He has published in the Progressive Librarian on the subject. Stinnett has worked in University Archives with human rights collections at UC Boulder, Manitoba and UConn. His involvement with the Manitoba Gay and Lesbian Archives collection project and the LGBTTQ Oral History Initiative, the El Salvador Human Rights Archive at Boulder and the extensive AltPress & Human Rights Archives at UConn have resulted in a multitude of engagement and outreach activities. He also briefly served as the Archivist for the Vancouver Whitecaps Football Club in British Columbia.

d’Archive on Display!

Logo by Melica Bloom

This summer the Dodd Research Center Gallery exhibits Season 1 of d’Archive, the archives podcast hosted by WHUS campus radio.  After wrapping up a 15 episode season over the course of Fall 2017 and Spring 2018 semesters, which is available on itunes or wherever you catch podcasts, materials featured on the show are currently on display.

 This exhibition will run from May 14th – July 7th, 2018 in the Dodd Research Center Gallery, Monday – Friday 9-5pm   Continue reading

Romano Photography Exhibit “Lifting the Veil” On Display

Lifting the Veil: A Photographic Archive of Child Labor in Light Manufacturing

September 28th – October 31, 2017
Archives & Special Collections Gallery
Thomas J. Dodd Research Center
University of Connecticut

 

Bangle Making

A young boy puts glass ornaments onto bangles to be sold in the United States and Europe. Child workers are chronically tired from long hours and irregular rest, increasing probability of disease and malnutrition.

From silver gelatin processing of the 19th century to 4k Ultra-High-Definition film of the 21st, photography has served not only to illustrate and document human activity but to also demonstrate and agitate on behalf of its subjects.  Likeminded activists and journalists have similarly sought to employ the camera as a tool for advocacy to change policy, discourse and public perception around past events which inform our future as consumers in a global capitalist world.  Curated and on display in this exhibition are photographic works from light manufacturing industries and the workers they employ as documented through the lens of photographer and documentarian U. Roberto (Robin) Romano.  In particular, the role of children at work remained a constant feature of Robin’s photography and film which became a hallmark of labor activism beginning in the early 20th century with the work of Lewis Hine.  In Robin’s eyes, acceptance of shared concerns across cultures and corners of the globe became the starting point for making concrete change, which he portrayed through photography as his device for “lifting the veil of perceived evil that comes from bias and stereotyping.”  His framing of the inherent concerns in society drew him to document the most vulnerable elements, “I think there is an a priori appreciation that we have within us of a sense of our common humanity. It seems to me it takes a lot of work and a lot of noise to create environments that forget that. And as a result, we are suffering the consequences of our forgetting.”[1]

Continue reading

Teaching Activism and Leadership through Archives

The following guest blog post was written by Laura Wright, PhD candidate in UConn’s English Department and first-year writing instructor as well as excerpts from students in her 2016 English 1010S seminar. 

War on Drugs, 1981 (Alternative Press Collection)Building towards the Presidential Election in November 2016, Students in ENGL 1010S: Seminar in Academic Writing considered different definitions of “leadership.”  The final project asked students to think critically about leadership historically through particular artifacts from the Archives & Special Collections Alternative Press Collection and Bread and Puppet Theater holdings.  In one class session, Graham Stinnett, the Curator of Human Rights Collections and Alternative Press Collections, provided an overview of materials and their historical contexts.  During this session, students learned about radical movements on UConn’s campus and how materials from these movements arrived in the Dodd Center.  The collections students observed encompassed a range of media, including Alternative Press newspapers, like The Rat and Rising Up Angry, as well as performance programs and promotional materials from the Bread and Puppet Theatre.

For this project, students argued for the relationship between activism and leadership represented in these particular collections.  Rather than writing a research paper, students compiled dossiers of material, using their unique artifacts as a jumping off point for further research.  Students offered a detailed interpretation of the archival material, located it in a larger historical narrative, researched peer-reviewed sources for an annotated bibliography, and wrote a short essay putting all their materials into conversation with one another.  Continue reading

Veteran’s Expressions After War

Currently on display at the Archives & Special Collections is the guest curated exhibit Veteran’s Expressions After War: Every Veteran’s Life Tells a Story and Every Veteran Leaves a Legacy, by Robin Albarano and Jordan Kiper.  This exhibit features visual art, poetry, correspondence, photography and ephemera relating to veteran’s experiences from the Vietnam War to the War in Iraq.  Materials featured draw from The Alternative Press Collection, Cal Robertson Papers and First Casualty Press.

This exhibition will be on display in the Thomas J. Dodd Research Center Gallery from January 1st 2017 to February 28th 2017, open Monday to Friday 9 – 4 pm.

 

A correlating exhibition will be on display this spring in the hallway of the Dodd Center featuring photographic prints and oral histories of veteran’s from the Balkans conflict.  Materials featured will be products of Robin’s photographic work and Jordan’s PhD research.

Women of the Black Panther Party

The following post is by undergraduate and UConn History Department intern Maggie Peyton about her current project working with materials in the Archives & Special Collections. 

IMG_3562My name is Maggie Peyton. I am a sophomore here at UConn, majoring in business. I took this opportunity to do research at the Archives & Special Collections because I am very interested in social justice and its history in the U.S. Prior to this internship, I had not taken any history classes on campus or engaged in archival work, so this is a very new and interesting experience.

The objective of this internship is to create an exhibit for the archives for the month of December. My fellow intern and I will be constructing an exhibit about minority women in the Civil Rights/social justice movements of the twentieth century. Specifically, I am focusing on the role of black women. What we know as the Women’s Movement was historically very exclusive and only served to represent upper-class white women. It did not acknowledge nor advocate for the issues unique to women who did not belong to this category. Continue reading

Magdalena Gomez: A Story that Inspires Minority Feminists and All Alike

The following post is by undergraduate and UConn History Department intern Diana Alvarado about her current project working with materials in the Archives & Special Collections. 

The Women's Times, 2004

The Women’s Times, 2004

My name is Diana Alvarado, and I am a first-year student at the University of Connecticut. Lots of people seem to think that being a history major is just about learning the facts of the past, but it really is so much more than that. It’s also about making a connections with stories and getting into the minds of the people in those stories.

At the Archives & Special Collections in the Thomas J. Dodd Research Center, I have been doing research about second wave feminism, and I found an article in “The Women’s Times” about Magdalena Gomez, a Puerto-Rican poet, playwright, and feminist. While reading the article by Allison Tracy, I was able to get a good look at her life as a minority and a woman. I can understand that also being a Puerto-Rican and female would make it easier for me to relate to Gomez than someone who wasn’t, but her story gives us a look inside the mind the of the feminists who weren’t the center of attention in the movement. Why is this important? It’s important because we can learn so much more about how the movement continues to impact our lives today; we can understand who we are a little more, and we can be more inspired to continue the work that feminists devoted their lives to. Continue reading

Shakespeare First Folio Transcribathon

TitlePageFirstFolio_FirstFolioFolger-1024x754The UConn Humanities Institute-Folger Library will host a “Transcribathon,” to be held Wednesday,  September 14th, 10 am – 4 pm in the Great Hall of the Alumni Center. The Transcribathon is an event connected with the Folger Shakespeare Library’s Early Modern Manuscripts Online project, which is an effort to transcribe and digitize hand written documents from the Age of Shakespeare. [http://folgerpedia.folger.edu/Early_Modern_Manuscripts_Online_(EMMO)] Staff from the Folger will be on site to lead the event. Participants will transcribe and encode manuscripts, individually or in small groups. There will be food (lunch and pizza at the end of the day), fun, entertaining manuscripts, transcription sprints, prizes, and an easy-to-use online transcription platform called Dromio. UConn will be working on the seventeenth-century diary of the fascinating Rev. John Ward, who in addition to his church duties was a learned humanist and active in medical and scientific circles. Learn to read the original documents of the English Renaissance, and be a part of history by getting your name on the completed edition. Please join us, and encourage your students (classes welcome) and colleagues. The more the merrier!

For more information, contact: Brendan Kane at brendan.kane@uconn.edu

#AIDS35

-Guest blog post by Thomas Lawrence Long, Associate Professor and co-curator of the AIDS35 exhibition on display in the John P. McDonald Reading Room, Archives & Special Collections during the months of August and September, 2016.

AIDS35_small

In 2016 we mark the thirty-fifth anniversary of the first published reports of what would come to be called the AIDS epidemic. Initially identified as rare cancers among gay men, Haitian immigrants, intravenous drug users, and hemophiliacs, AIDS emerged at a moment when a triumphant religious right (organized by the so-called Moral Majority) and political conservatives dominated American media and public life. The convergence of a mysterious infectious disease associated with stigmatized groups or behaviors, on the one hand, and a moralistic neo-liberal social and political movement, on the other hand, created the conditions for competing published representations. These representations invoked divine judgment and apocalyptic anxiety, or critiques of conservative medical authorities and of defunded public health resources.Lingua Franca, June 1991

HIV, the virus causing AIDS, is often transmitted by proscribed behaviors: sexual intercourse (both vaginal and anal) and intravenous drug use. HIV-infected people were thus routinely blamed for their infection and stigmatized as a threat to the general population.  Even among gay men for whom sexual liberation was associated with social and political freedom, the AIDS epidemic created a crisis of confidence.

In a paper presented in 1986 at the annual convention of the Modern Language Association and later published in 1988, communication and cultural theorist Paula Treichler, analyzing the representational conflicts surrounding AIDS, observed that “the AIDS epidemic is simultaneously an epidemic of a transmissible disease and an epidemic of meanings or signification. Both epidemics are equally crucial for us to understand, for, try as we may to treat AIDS as ‘an infectious disease’ and nothing more, meanings continue to multiply wildly and at an extraordinary rate.”

ACT-UP: AIDS Coalition To Unleash PowerTo wrest control of the epidemic’s representational field, AIDS activists, independent queer presses, and AIDS service organizations produced a variety of publications, including safer-sex brochures, tracts and manifestos, zines, and AIDS-themed fiction. Items included in this exhibit come both from Archives and Special Collections and the personal collection of Associate Professor in Residence Thomas Lawrence Long.

 

Ironically, this year marks another AIDS anniversary: twenty years since the introduction of protease inhibitors and other retroviral drug combinations that turned HIV infection from a death sentence to a manageable chronic infection.

For more information on campus wide exhibitions and programming on #AIDS35, click here.

-Thomas Lawrence Long, Associate Professor in residence in the UConn School of Nursing with a joint appointment in Women’s, Gender, and Sexuality Studies, is the author of AIDS and American Apocalypticism: The Cultural Semiotics of an Epidemic. He is a founding member of the Modern Language Association’s Medical Humanities and Health Studies Forum and an associate editor of Literature and Medicine.

Our Comics, Ourselves Gallery Event

Event Edit1The Archives & Special Collections will be hosting a Gallery Event on Monday, July 25th at the Thomas J. Dodd Research Center on the University of Connecticut, Storrs Campus at 7pm.  Co-Curator and webcomic creator Jan Descartes will lead the event to discuss DIY comics, art and social justice issues represented in the Our Comics, Ourselves exhibition currently on display in the Thomas J. Dodd Research Center, on loan from the Interference Archive in Brooklyn, NY until August 22nd, 2016.IMG_3232

This event is free and open to public.  Parking is available on Whitney Road and behind the Thomas J. Dodd Research Center after 5pm.

For further information, please follow us on Twitter or contact Archivist Graham Stinnett

 

Convention!

Currently on display in the John P. McDonald Reading Room at the Archives & Special Collections: Convention!: An Exciting and Educational Board Game Created by Homer and Marcia Babbidge 

In 1960 Homer D. Babbidge, who would later became UConn’s President (1962-1972), Convention Board Gamewas an Assistant for Higher Education in the U.S. Office of Education. To whet his appetite for the game of politics, in the midst of the 1960 Presidential campaign, he and his wife, Marcia, invented a board game published by Games Research, in which the players seek to accumulate enough delegates to win the nomination.

President Homer D. Babbidge

President Homer D. Babbidge

The UConn University Archives has recently acquired two editions of this long-forgotten game for its collection, thanks to Norman D. Stevens, Director of University Libraries Emeritus. When Norman became aware of the game, he contacted David Beffa-Negrini (Class of 1976), a noted jigsaw puzzle maker and an active game collector. Mr. Beffa-Negrini immediately located the two copies of the game currently on display and generously donated them to the Archives.

The probable first edition of the game includes a colorful tube which contains a rolled paper game board sheet and two instruction sheets, game pieces, dice and score sheet. The likely later edition is a typical board game housed in a cardboard box containing the game board, similar in many ways to Monopoly™. Convention!, which reflects the Babbidge’s fondness for satire, is much more volatile than any other board game. As one newspaper reporter who played the game wrote, “It is filled with all sorts of pitfalls and windfalls whereby a player might lose or win delegates. One neighbor lady…had won most of the primaries and was pressing in for the kill. I was down to a few delegates and was about to withdraw. Then I remembered a maneuver that Babbidge had told me about but which I had neglected to mention while explaining the rules. In one stroke I had captured enough delegates from the other players to win the nomination.” It was also reported that John F. Kennedy had a copy of Convention! on his campaign plane but how well he was doing was a secret.

In addition to the spaces around the board, through which delegates may be lost or won, there are seven caucuses, leading from a perimeter space that candidates may enter in hopes of winning more delegates. In the New York caucus a candidate can win votes for landing on the Wall Street Likes You space, or lose them for landing on the Greeted by a Bronx Cheer space. It can be the desperation move mentioned above for, if a player chooses to enter the Smoke Filled Room, on 2 of each six spaces the Bosses Approve, Disapprove, or Ignore you. Approval garners the player half of the Uncommitted Delegates held by each other candidate but Disapproval eliminates the player from the game.

Exhibit contents are from the Papers of Stuart Rothenberg and Herman Wolf and recent donations from Emily Roth (Class of 1965), Bill Heath and Henry Krisch (Professor of Political Science).

Curated by A. Gabrielle Westcott and Betsy Pittman

 

Our Comics, Ourselves on Exhibit

Our Comics, Ourselves at Interference Archive
Our Comics, Ourselves at Interference Archive Brooklyn, New York

The Archives & Special Collections at the University of Connecticut will host the first traveling installment of the exhibition Our Comics, Ourselves co-curated by Jan Descartes and Monica McKelvey Johnson.  Premiering at the Interference Archive in Brooklyn, NY in January of 2016, this exhibition featured comics  selections from the Interference Archive collections as well as private collections on loan.  The exhibition includes comic books, graphic novels, DIY comics, and various comics paraphernalia primarily from the United States, 1945 to present. The works range from autobiographical to sheer fantasy, and explore feminism, abortion, racism, cultural identity, social activism, veterans of war, sexual abuse, immigration, public health, civil rights, gender and sexual identity, and more.

Video of Exhibit Installation

The works on exhibit are outside what has been called “mainstream” in comics—in other words, they do not replicate heroic aspirations of a monolithic American boyhood. They do not aspire towards unified idealism. Instead, these are the stories about all of us—either made by us, for us, or in our names. They are complicated, and sometimes messy. By attempting to narrate around mainstream standards and into uncharted territory, these comics let more of us know that we, too, belong to this world and that maybe, therefore, we are also able to participate in and shape it.
UConn’s Graham Stinnett, Archivist for Human Rights and Alternative Press Collections, guest curated a portion of the digital supplement of the exhibition on tumblr featuring materials from the University of Connecticut’s Alternative Press Comix Collection earlier this year. The curated tumblr blog is part of an ongoing contributor driven narration of comic books, personal history and identity.
The UConn Archives exhibition of Our Comics, Ourselves will run from June 14th – August 22nd 2016 in the Thomas J. Dodd Research Center Gallery which is open to the public, Monday – Friday 8:30 – 5pm.

Archiving Robin Romano’s Work

This guest post by Archivist Assistant Cristobal Ortega-Berger details his work with the U. Roberto Romano Papers which document child labor in still photography and documentary film.  This collection is a massive resource for film makers like Cris, as well as human rights and photo-journalism researchers. Selections from the Romano Papers are on display in May and June of 2016 in the John P. McDonald Reading Room at the Archives & Special Collections.

The unlock tone rang, I inhaled sterile air, and slid the rubber lid off of a box. Silver and dark hard drives line the inside of six boxes; scores of video cassette tapes and DVDs populate the rest. Data storage’s ubiquity almost make me forget these media preserve evidence of child labor, and progress from it. The question I asked on my first day of work is a simple one that archivists alongside humanitarians ask:

“What are we working with here?”

  1. Roberto (Robin) Romano worked as an international news and documentary producer and photographer. A prolific filmmaker and photographer, Romano worked commercially under Alan Kaplan Studios for private clients like Budweiser, AT&T, and Coca Cola. Romano also worked as a visual journalist for Sept Jours, a Canadian news show, and as a photojournalist for Impact Visuals before he took on his pivotal work Death of the Slave Boy (1997). The two-hour documentary investigated the life and death of Pakistani Iqbal Masih, an outspoken 12 year old child slave and activist.

We are working with files from a well-traveled humanitarian who was as comfortable filming in an illegal quarry as he was researching child labor laws in his cigarette-smoke stained studio.

Young American Migrant Farm Worker Picking Onions

Romano ignited his work on global child labor. He soon traveled to Mexico, Pakistan, Kenya, Brazil, Indonesia, India, Nepal, and inside the United States to interview and photograph working children. The result was the beginning of a movement. Romano Productions and Galen Films premiered Stolen Childhoods in New York on May 20, 2005. The same day, Dana Stevens, of the New York Times, wrote about the film “The bleakness of ‘Stolen Childhoods’ is not completely unremitting; the film also celebrates the efforts of a few successful programs to combat the scourge of child labor around the world.”

We are working with a collection of dangerously and meticulously documented voices and faces that changed legislation, and may continue to do so. Romano left behind photos of child laborers, hidden camera interviews with traffickers and victims, filmmaking budgets, working film scripts, and professional correspondences. During the last decades of his life – Romano made professional relationships with non-profit organizations like RugMark, Goodweave, Human Rights Watch, and other humanitarian organizations. RugMark: Faces of Freedom photo exhibition is one of Romano’s signature projects that shatters preconceptions of human, and especially, child trafficking.

My first work as an archivist is on the Robin Romano collection; my background is in documentary visual journalism. At the time I was approached to work on Romano’s collection, I was editing a documentary about human trafficking called Free Time. In it – academics and prominent leaders who tangibly challenge human trafficking explain the problems in understanding what is human trafficking and its forms.

Human trafficking is discussed using an established visual grammar. Films like Taken (2007) show white, adolescent, rich female tourists who are kidnapped to sell for sex work in Eastern Europe. This is not entirely inaccurate, but repeated exposure to this visual pattern allows others to devalue and ignore hundreds of millions of stories like those shown in Stolen Childhoods. Romano’s evidence disproves the single narrative approach of human trafficking, and the single narrative approach to solutions.

I am not going to be the first photographer filmmaker researching Romano’s collection. As a young visual journalist, I am learning about professional workflow by ingesting and archiving documents like a list of questions for a subject, an equipment budget, or a photo contact sheet. Given the gravity of the collection, I have been forced to ask new questions about perspective and agency: how does one reconcile their privilege as a documentarian relating with the subject or interviewee, how does a filmmaker ask a child questions that conjure up memories of skin-peeling work? Will this collection of child labor ever be obsolete in describing contemporary social problems?

Len Morris, Romano’s co-director for Stolen Childhoods and longtime friend donated the majority of Romano’s physical and digital collections to the Archives and Special Collections in 2015. Morris recently premiered The Same Heart, a documentary discussing solutions to child labor, and used many of Romano’s final moving images. Posthumously, Romano’s work may continue to work to educate and challenge ignorance about poverty, policy, prejudice, and profit.

Cristobal Ortega-Berger