Locked Down and Speaking Up: Prison Riots, Reform, and Writing from The Alternative Press Collection

Patrick Butler, Assistant Archivist for the Alternative Press Files Collection and Human Rights Collection, is a 2018 Ph.D. graduate of the UConn Medieval Studies Program.  During his time as a graduate student he worked in the UConn Archives to broaden his materials handling experience and develop skills as an archivist.  He has specialized training in medieval paleography and codicology.  

On August 21, 1971, African-American activist and author George Jackson took hostages in order to escape San Quentin State Prison.  Five of Jackson’s hostages: three prison guards and two inmates, died in the ensuing violence.  The attempted escape ended with a prison guard shooting and killing Jackson.

Two weeks later, on September 9th, 1971 approximately 1000 inmates at the Attica Correctional Facility rioted and ultimately took control of the prison facility.  The inmates took 42 staff members of the facility hostage in a bid to negotiate for prisoners’ rights.  During the four days of negation, prisoners made 27 demands among which included: better medical care, better sanitation, the end of racial discrimination, updated labor policies aligned with New York State law, and the end of the violent abuse of inmates by guards and prison administrators.

While negotiations with Corrections Services Commissioner Russel G. Oswald and the Attica inmates had initial success, the dialogue would ultimately breakdown when Governor Nelson Rockefeller refused to appear at the prison in a bid to help quell the riot.  In the wake of the Governor’s refusal Oswald stated that they would retake the prison by force; Rockefeller agreed.

When the New York State Police had regained control of the prison 43 people were killed, 10 of which were hostages.

These two moments served as a flash point to bring prison conditions and prisoners’ rights into sharp focus during the seventies.  However, part of the danger that comes from thinking of prisons and prisoners exclusively in terms of the violence is that it risks reducing the bodies of prisoners as little more than sites for violence.  The aim of developing this exhibit has been to examine how materials within the Alternative Press Collections focus on the vulnerability of prisoners to the violence of the systems that shape their incarceration, how they respond to the systematic pressures that seek to justify subjecting their bodies to abuse and neglect, and the power that comes from forging communities in response to these pressures.  A quote from an Attica inmate Roger Champen distills the physical, social, and bureaucratic pressure of incarceration succinctly and eloquently, “Everything is done to you, not for you.”

We Are Attica, 1972.

While the killing of George Jackson and the Attica Prison Riot serve as a starting point for the exhibition’s historical and social context, the materials in this exhibit come from a broad historical range and include a focus on documents produced by and for Connecticut Prisons.  The Alternative Press Collection contains a wealth of material that document how prison communities develop and sustain themselves through creative writing, activism, correspondence, and even revolt.  In order to accomplish this, I looked at the materials prisoners created while in prison, or shortly after leaving prison: newsletters, protest writing, creative writing, and original artwork.  Even work published under the auspices of prison administrators allows for an avenue of expression and solidarity centered on vulnerability;

“To Be Black”

To be Black is to be seated

in Jim Crow vain

in the lonely south on a bus or

train

Because you’re Black and

your Blackness is symbolic of shame

To be Black is to hear a baby’s

screams in the rain

while be eaten by rats

in some dilapidated tenement

in Harlem

or some other place the same

To be Black is to see your mother’s

brow

after caring for another person’s home

somebody else’s child

the long lines of distress

strain

as they disfigure the make-up of her

frame

To be Black is to search in deep

despair

some other place

Freedom somewhere

Abdur Rahman (Clinton Fields) from Inside: Writings by Attica Inmates 1977-1978.

While the specific concerns of an individual piece of writing vary between violence against inmates, unjust imprisonment, political oppression, and basic human rights concerns, the language used throughout these writings, creative or otherwise is a desire for their concerns to be legible to others – to understand and to be understood.  Distinct from sympathy, the specific vulnerabilities that emerged among prison writers seems to stem from a lack of acknowledgement of their embodiment as genuinely human.  Almost reflexively, there is a recurrent theme to dismiss sympathy as a pressing desire among inmates.  Sympathy is antithetical to the goals of these writers, a source of dismissal that does not seek to understand a fundamental connection between the prison author and the audience of the text.

A Special Report from behind the walls of Massachusetts Prisons 1972.

The relentless desire for community, intelligibility – to not be forgotten or silenced by their isolation – makes the writings of prisoners within the Alternative Press Collection a powerful and humbling selection of materials.  It holds its audience accountable for the undeniable connections that are present between individuals despite legal and societal practices of separation.

You can do two things in prison. You can be a man or you can be a robot.  See, if you be a robot, you stand a very good chance of going home.  But notice this, all the papers record this is a fact, that those who stay in here become submissive.  When they get outside, all the things that they have inside, boil over onto society after they come back.

Roger Champen We are Attica, 1972.

The exhibition: “Locked Down and Speaking Up: Prison Riots, Reform, and Writing from The Alternative Press Collection” will be on view in the John P. MacDonald Reading Room of the Archives & Special Collections at the Dodd Research Center from June 15th – August 20th.

For more information on the Cal Robertson Papers please consult the Archives & Special Collections Finding Aid.

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

Roger L. Crossgrove: A Lifetime of Art and Art-making

 

Roger L. Crossgrove: A LIfe in Art 

Three concurrent exhibitions on display now through August 4, 2017 at UConn.

Until his passing in December of 2016, Roger L. Crossgrove was a highly visible and active participant in Connecticut’s arts community. The works on display in the Homer Babbidge Library, the Thomas J. Dodd Research Center Gallery, and McDonald Reading Room in Archives and Special Collections through August 4, 2017 are representative of his artistic life expressed in various media.

Born in Farnam, Nebraska in 1921 and raised on the family’s farm, Crossgrove’s mother, a self-taught artist, encouraged his interest in art at a young age. From 1942 to 1946, Crossgrove served in the US Army as a Staff Sergeant, 73rd Field Hospital in the Philippines. After returning home, he received his BFA from the University of Nebraska in 1949 and his MFA in 1951 from the University of Illinois at Champaign-Urbana.

Crossgrove fell in love with the art of Mexico and twice had the opportunity to live and paint there, first in 1950 on the GI Bill and again in 1965, the influence of which is evident in the early oil paintings on display in the Plaza Gallery in Homer Babbidge Library. Between 1950 and 1968, Crossgrove taught at the prestigious Pratt Institute in the Department of Graphic Art and Illustration. In 1968, he was recruited by the University of Connecticut to serve as Department Head in the School of Fine Arts. Crossgrove retired from the University of Connecticut in 1988. During his collective 38 years as an art professor, Crossgrove taught noted artists such as Tomie dePaola, Robert Mapplethorpe, Joseph A. Smith, Normand Chartier, Cyndy Szekeres, and Michael Maslin. Described as patient, supportive, firm, friendly, generous, and cheerful, he is remembered for emphasizing well-rounded foundational lessons, in a wide variety of idioms, as crucial preparation for a career in fine art or illustration. In 2008, Crossgrove was the recipient of the UConn School of Fine Arts Lifetime Achievement Award.  Read more…

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.

#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

John Temple Papers Project Now Open

0a831b0c3d2aeb112f08aeb7a5084fcdAs the spring semester ends and students turn their collective gaze and energies happily elsewhere, those of us that remain on campus pause to catch our collective breath.  Today I ponder and feel a heady lightness of gratitude as I reflect on the amazing exhibitions (such as Archives Reveal and Cuban Bricolage), student projects (such as Children of the Soil), and partnerships (including Celebrate People’s History and Interference Archives) of this past semester.  Wow!  Each incorporated and illuminated archival materials from collections here in Archives and Special Collections and in very different ways. It brings to mind that other activity of spring time in Storrs, the engine-like turning and tilling of the soil, the annual aeration and tending of ground that make deep roots and plentiful, fertile, bee-worthy blossoms possible.

It was a special pleasure on April 21 to attend the launch of the John Temple Papers Project and to hear the clever, funny and wise words of Eleanor Reeds, PhD candidate in UConn’s Department of English, teacher, blogger, and now publisher and creator of the John Temple Papers digital exhibition and digital humanities project. The celebration featured poetry readings, a demonstration of features of the web site,  and a presentation by Reeds who emphasized the theoretical foundation and origins of the project.  After two years of work, close-reading, experimentation, textual analysis and transcription, and decision-making, the John Temple Papers Project – a work of scholarship and an inventive peeling back and applying of layers of 31b3c55a8b8d126f2491e0c560aa80c3b92f03029026e90c67d51c46269ab47ctechnological onion skin – makes available digitally for the first time a selection of the poet’s literary manuscripts, typescripts, letters and production galley proofs.  Readers are invited to “Experience the Archive” and to explore Temple’s revisions of individual poems via a digital interface.  The materiality and arrangement of the manuscripts, and the play and presence of the author’s hand, are emphasized.  With permission of the poet himself, Reeds presents the manuscripts as high-resolution images derived from the original documents in the John Temple Papers preserved in Archives and Special Collections.

Reeds explains,

As a scholar of predominantly nineteenth-century poetry and print culture, I had always been interested in the process of editing poems and the assumptions underlying any approach to the reality that almost every poet significantly revises their work, before and even after publication. By making available all the possible versions of a poem—including those represented within a single document through annotation—I hope to prompt further interest in how we can allow readers to appreciate poems as far from fixed entities that should not be regarded through a narrative timeline that privileges either original inspiration or teleological perfection.

 

With this end in mind, the Omeka platform has been utilized to enable users of this website to browse multiple instantiations of three poems written by John Temple as his 1973 collection, The Ridge (originally titled The War Changed Me), was developed for publication under the editorship of Andrew Crozier. Temple is a British revival poet whose connection with Charles Olson is what likely led to some of his papers coming to the University of Connecticut’s Archives and Special Collections.

 

Writing in 1970, Jim Burns described Temple as “too little known or published,” noting how he had “absorbed American technical innovations and applied them to his own experiences in the North-East of England.” Burns’s essay—now collected in Brits, Beats, and Outsiders (Penniless Press, 2012)—is entitled “English-English Poetry.” It surveys a contemporary group of “non-Establishment” poets with “small, quiet voices,” poets characterized by their “long-lined dense texture in which they seem to write around the subject rather than about it.” The three poems by Temple I have chosen to feature in this exhibition tend toward a shorter line length. However, in their evocation of complex emotions through the anecdotal details of otherwise quotidien experiences, they can certainly be regarded as exemplifying Burns’s judgment.

 

Congratulations Eleanor Reeds!  Thank you John Temple, and thank you to staff of the University of Connecticut Libraries’ Scholars Collaborative, and UConn faculty.  I am delighted that John Temple’s poetry and his archives are available and presented anew, from the page to new fertile ground, to another generation of readers.  Read on!

 

Children of the Soil: Generations of South Africans under Apartheid – Exhibition Opening and Keynote

IMG_20160425_Children1revChildren of the Soil is a new and fascinating exhibition that explores the human and cultural impact of Apartheid on generations of South Africans from the 1940s to the 1990s. Featuring archival photographs, oral histories, illustrations, maps, newsprint, and data derived from archival sources including the African National Congress Oral History Transcripts Collection, The Impact Visuals Photograph Collection, and
Aluka, a database of materials on liberation movements, the exhibition is the culmination of months of research, design, and analysis by UConn undergraduates, graduates students, faculty and independent researchers under the direction of Project Director Fiona Vernal, Assistant Professor, Department of History, The Human Rights and Africana Studies Institutes, and staff in the Digital Media and Design Department.  The exhibition is now on view in the west hallway gallery of UConn’s Thomas J. Dodd Research Center.

IMG_20160425_children2rev

From the 1940s to the 1990s, Africans debated the best strategies for defeating the apartheid regime that came to power in South Africa in 1948.  After three centuries of Dutch and British colonialism, apartheid introduced Africans to an unprecedented scale of state-sponsored violence, land dispossession, and segregation.  Successive generations of youth pursued vastly different visions of the role of mass demonstrations, armed revolt, non-racialism, and cultural nationalism in achieving freedom, equality, and human rights.  In the 1990s, the African National Congress revisited the strategy of negotiation and compromise from a non-racial platform that viewed all South Africans as children of the soil, proclaiming: “South Africa belongs to all who live in it, black and white.”

Join us for the Exhibition Opening and Reception tomorrow, Wednesday, April 27 at 4:00pm in Konover Auditorium at the Dodd Research Center.  Dr. Angel Nieves, Associate Professor of African Studies and Digital Humanities at Hamilton College, is the Keynote Speaker for this special event.  The event is free and open to the public.

In a related event, Dr. Nieves is also scheduled to speak at the UConn Humanities Institute on Thursday, April 28, 12:30-2:30pm (Austin Building Room 301).  His talk Building a 3D Human Rights Platform: Witness Testimony and Spatial History in South Africa will engage the question  “How do we map violence, resistance, and freedom across space and time?”  Dr. Nieves will discuss considerations and challenges in the design and development of a digital platform for human rights and historical recovery work for use in communities not only in South Africa but across the African Diaspora.  Dr. Nieves is Co-Director of Hamilton College’s Digital Humanities Initiative (DHi).

Supported by funding from the Department of History; Humanities Institute; The Africana Studies Institute; UNESCO Chair in Comparative Human Rights; Digital Media & Design Department; UCHI; UConn Global Affairs; Archives & Special Collections; and the Thomas J. Dodd Research Center.