Learning With The Body: How Past Approaches to Whole-Body Education Can Inform Us Today

This writing is by Anna G. Joujan, CMA, CPT, MLIS, the recipient of a 2026 Archives & Special Collections Research Grant to study the use of non-traditional book formats with children experiencing vision, hearing, and physical impairments, ADHD, and Autism. Joujan is a Bilingual Medical Assistant/Phlebotomist at Lifespring Pediatrics in Chattanooga, TN and a pre-nursing student at Chattanooga State Technical Community College. Joujan was the recipient of a Billie M. Levy Research Grant in 2008.

I have always been fascinated by the human body. My first memory of being aware of my own was when an elementary school classmate alerted me to the fact that I had “muscles like a boy.” I was embarrassed, wishing I had the delicate, feminine limbs of my little sister instead of my own. I would soon discover the power of these same muscles, and learn that in harnessing, strengthening, and pushing them, I could also focus my brain, calm my nerves, and train myself to push through hardship in all areas of my life. I learned that a powerful motivator to me, in facing the demands of any given day, is the reminder that it will not get easier, but that I will get stronger. I cannot remember where I heard this, or from whom, but I did find a similar quotation, via an online search, from Asma Naqi: “A secret life taught me: it doesn’t get easier, you become stronger.” (wisefamousquotes.com

When I became a professional educator, it came naturally to incorporate movement into my own lessons, in the library and in French classes. I understood the children who struggled to sit still, and I made lesson plans that included song-and-dance, games, and manual tools. I sought out studies that others have done about whole-body considerations, and learned that there are many. I am certainly not pioneering this idea.  

  I am, however, in a different era than the one in which past scholars, educators, and artists were in. As such, I have a different lens through which to consider these same topics: a lens that has been informed by the age of the Internet, AI, an ever-shifting political climate, immigrant and migrant upheavals, and other modern considerations. In order to adequately address the needs I see before me, in my pediatric clinic workplace, in my rural homesteading community, and in my continuing education, I must take these considerations into account. 

What, then, I ask, do the individuals and communities I see before me need?  

What do the insights provided by those who have gone before me have to offer to those I see now? 

Alternative Approaches to Educating 

  One modern thinker who is asking some of these same questions as he addresses the state of educational systems is Aditya Vishwanath. In an interview with Kelly Corrigan on her podcast, “Kelly Corrigan Wonders,” Vishwanath describes the traditional method of schooling in India as heavily memorization–focused. And even though he thrived academically in this setting, due to his remarkable memory, his life work now is to campaign for a system that recognizes the value of creativity more than memorization. His reasoning is that considering the technology we have available to us, and the tools that allow for rapid calculations and AI solutions, it makes little sense to spend the majority of one’s education memorizing methods that can artificially be done much faster than is possible with the human brain. He concludes,  

“So, in a nutshell, it is taking something as transformative, world transformative as AI, to wake us all up and say, we’re not teaching the right things . . . I’ve been doing a lot of work in the AI literacy space and the education reform space, even in the United States in public schools. And we’re seeing the same thing happening. A lot of people are in panic, throwing darts at a wall, trying to see what sticks without any real first principles thinking, without a more rigorous, intentional approach towards how do we systemically ask a broader overarching question of what should we be preparing our young people with, such that they are employable, happy, self-sufficient citizens tomorrow.” 

  In this interview, Vishwanath does not offer concrete ways in which to promote this creative incorporation. So I would like to do so now: 

  If a textbook is doing nothing for a struggling student, for instance, why not hand her the supplies (printed out from the Brooklyn educational manual website) needed to make a book with the instructions to write, and put together, your own textbook, that teaches the information in a way that you’d want to learn it? This textbook need not be a “book” at all, in the traditional sense. Along the lines of the books in the Artists’ Book Collection, it could look like a puzzle, such as State of the Union, by Pfeiffer. When I experienced this work, I wore gloves, following the instructions of the archivist, who walked me through the initial opening-up of this puzzle, which as a whole makes an American flag. I was careful to pick up one block at a time, unfolding it with care, reading the words printed on the front and the back of each one before refolding the accordion fold and placing it back in its slot. The blocks are categorized: “Economy,” “Health,” and “Business” are the short lines of the red and white stripes. “Education” is a long white stripe. Then “Politics,” “Environment,” and “Society.” Printed inside each of these is a collection of quotes about that topic, some of which are familiar to me, by poets, writers, and thinkers. The stars are a brief manifesto about the current state of the union. I read, “At the moment the ‘we’ (in the ‘We the people . . .’) has given way to a troublesome ‘us’ and ‘them.” The experience of handling this work of art is not unlike that of undertaking a delicate procedure on a patient in the clinic, and the sort of learning it offers is a far cry from any traditional educational texts. 

  If an effort is being made to solve a particular problem, or master a particular subject, and it seems like the student is just banging their head against a wall, why not take a break altogether, regardless of where in the expected day’s schedule this wall happens to fall? Countless examples from history have proven that sometimes a break is exactly what the brain needs in order to find clarity. In a recent lecture given about the physicist Freeman Dyson, a creative thinker named Andy Patton described what happened when he was working on a particular problem concerning the laws of quantum dynamics. As he explains it: 

So he made that his work. He spent months … doing endless calculations by hand on giant stacks of paper at his desk. But he couldn’t find a solution…So he let his brain shut off. He switched from creative output mode, banging his head against the wall, to recover, rest, and incubate mode. So beneath the surface of his conscious thought, something was transforming. Something was about to rise through the surface of the soil. As Dyson spent days staring at the Pacific, walking up and down the beach, and just, as he said, bumming around, insights were assembling themselves in the silent dark of his unconscious mind. So at the end of the California getaway, he got on a bus and rode back to Princeton, and that is when the insights started to hit. He was staring out at the window on the prairies of Kansas, in the dark, and suddenly everything just clicked…The new growth didn’t break through the surface of the ground until after he rested. He took a breath, he let his mind roll along, and suddenly the whole thing was crystal clear. 

  If a student is arguing that their studies don’t mean anything in real life, why not let them do something that does? Aditya Vishwanath, a pioneer in the world of education is running a secondary school that incorporates hands-on learning in actual career fields, as an alternative to traditional classroom learning. These students learn to repair airplanes, install plumbing systems, and build houses. As he explains in an interview with Kelly Corrigan, 

“And so we build a house every year for Habitat for Humanity. And again, if we ever get students who are a little disconnected from the project, all we have to do is go to the local area where folks are either in some of the tiny homes that we also build, or they’re actually going to be in the Habitat community. And we just have them meet the people who are going to live in the house. And it is an absolute motivator. They understand that this is a family that may or not have housing otherwise. And only then are they reinvested, which we’ve done a couple of times, it’s fantastic.” 

Physical, Mental, and Social Considerations  

 The examples I have given so far can easily be imagined, potentially useful for any average student. For many students, however, there are specific challenges that make traditional classroom settings especially challenging:  

Language, for instance–when a student is learning in a place that does not use the native tongue of his or her household. These children are often seen as slow, or behind, when in fact they are often highly intelligent, learning how to function in multiple languages while their peers are learning in the language they easily acquired from infancy. 

Other children are faced with learning disabilities, such as ADHD and Autism Spectrum Disorder. 

Still others have physical handicaps that affect their sensory abilities, such as hearing, visual, or physical impairments. 

For these sorts of challenges, there are models that are addressing this in very practical ways. One is the Montessori Method, started by Maria Montessori in the early 1900s. In 1995, Joyce S. Pickering, in an article entitled “Montessori and Multisensory Structured Language Therapy Applied to At-Risk Children,” outlined ways in which children at risk for “specific learning disabilities” (5) benefit from non-traditional instructional methods. She begins the article with the clarification that “Learning disabled children have average or above average intelligence; they possess the visual acuity needed to see and the auditory acuity needed to hear; they are not physically handicapped, mentally retarded, or emotionally disturbed.” While I appreciate this acknowledgement of the intelligence of the children she is referring to, I would expand the value of non-traditional methods to children who do have actual physical handicaps, intellectual delays, or emotional struggles.  

One of the specific methods she makes a note of includes geometric shapes in metal frames. While reading the article, I envisioned a sort of stencil, and verified this with an internet browse for images. This simple addition of tactile tools allows children to combine the touch of the shape with the limited auditory and visual lesson that a more traditional educational setting may include.  

After describing aspects of this multi sensory approach, and detailing its benefits, Pickering concludes that, “The normal child quickly begins to associate visual symbols and sounds; remembers information after several exposures; grasps the concept of blending; begins to use ‘key words’ in a word pattern to help read other words (hat, cat, sat, etc.); begins decoding and comprehension; and, begins writing. An at-risk child has difficulty in sound-symbol associations, blending, and using ‘key word’ patterns to generalize other words. Not able to master the code (emphasis mine), the at-risk child relies on memory, avoids language activities (if possible); appears ‘nervous’ when asked to work with language; and struggles with written work.” (21) 

When considering the value of the Montessori Movement as a whole, it is worth considering the background and, consequently, motivation of its founder, Maria Montessori. Maria herself was raised by parents who seemed ahead of their time. She considered the careers of engineering and medicine, deciding upon medicine and graduating as the first female doctor in Italy, at the age of 26. From there she went on to study illnesses in young children and, of course, education, incorporating the remainder of her life spent traveling internationally and publishing results of her research.

Historical Approaches to Learning Obstacles 

  As I considered the idea of physical handicaps that some students are faced with, I decided that it would be helpful to consider historical approaches to this topic. One collection I came across studied what was coined “handicapped homemakers,” conducted between the years of 1956 and 1957. This study proved fruitful for my research in two ways: one being the adaptive measures taken by handicapped individuals, and the other being the consideration of the challenges faced by the children of these handicapped individuals. 

Our automated life has eliminated (for those who choose modern conveniences, at least) some of the original household difficulties that handicapped women dealt with: the labour involved in hanging items outside on a clothesline, for instance, or of washing and drying cloth diapers. So some of the types of solutions and aids that were being investigated in this study are inapplicable to modern life. The idea of adaptability and ingenuity, however, is timeless. In one image from this study, we see a woman with an amputated right arm and left side bodily burns.  

She has learned how to lean her child against her right stump while shampooing his head with her left hand; the baby, meanwhile, learns to grasp onto that stump, rather than perhaps simply leaning against her forearm and hand as he would have if she had the limb available to support him.1 Her four children have the same needs any child would have of an able-bodied mother. Life does not adjust its expectations of her based upon her own limitations: rather, she adjusts her own expectations of what she will continue to do, and how she will do it. 

Mother washing her baby's head with a cloth
Photograph from Handicapped Homemakers, Archives & Special Collections, University of Connecticut Library
Text from Handicapped Homemakers Collections, Archives & Special Collections, University of Connecticut Library
Text from Handicapped Homemakers Collections, Archives & Special Collections, University of Connecticut Library

 In one of these studies, the assertion was made that “Because of necessity, children of handicapped mothers often develop self-reliance, independence, and a sense of family cooperation at an early age.” One example of this independence, from the study, was in the need to begin dressing themselves at an earlier age than generally expected. In order to help with this, images in the collection show clothing designed so that children can more easily dress themselves (large buttons, fewer articles of clothing, easy to tell front from back, etc).2 The children, then, are able to learn this skill of dressing due to tactical aids, similar to the Montessori Method’s tactical aids for learning.

Text from Handicapped Homemakers Collections, Archives & Special Collections, University of Connecticut Library
Photo from Handicapped Homemakers Collections, Archives & Special Collections, University of Connecticut Library

As the child of a handicapped parent, I can attest to this early development, which I witnessed in my younger siblings. When my mother was paralyzed, I was already independent enough (due to both age and the fact that I had been attending boarding school since the age of 5) that her handicap did not have as great of an influence on my early childhood development. It did, however, significantly affect my adolescence and teenage years. I consequently had a personal interest in this study, and found myself revisiting childhood memories while conducting my research.  

One of the sections of particular interest to me, due to the focus of my research, was a project entitled, “Play Experiences Handicapped Mothers May Share With Young Children.” Many of the ideas given here (such as building a sandbox, sending bathing-suited little ones out into the lawn with a sprinkler, singing together, or making finger paint) are ideas any caregiver, able-bodied or not, could easily undertake. One of my own mother’s playtime inventions came to mind as I read this pamphlet: once she had mastered her wheelchair, she would zip down our zigzag-curved driveway, with a “Watch me!” While perhaps not the most readily-sanctioned of activities, I do suspect that my siblings and I benefited somewhat from the training in facing fears that we developed from our experimentation with our mother’s “play experiences,” as we learned how to steer her wheelchair and to “pop a wheelie” which she also demonstrated. 

Present Day Hands-On Applications  

An examination of the value of merging body and brain leads naturally into hands-on application. How, then, do I see the tactics examined in this paper being successfully applied in individuals today? 

One of my tasks as a pediatric nurse is conducting vision tests. For this we use the standard Snellen eye exam. Many of the children I do this with are just beginning to learn how to read and, oftentimes, I find the immigrant children hesitant and underconfident when it comes to reading letters out loud, even if the parent assures me the child can read well. Considering the point I made earlier in this paper, concerning the intelligence of children who are learning in a culture that speaks a different language than that of their home, I decide to adjust my own expectations when conducting the Snellen. This child has to remember not 1, but 2 different names for each letter as they learn to associate the correct sounds for both languages. So perhaps a struggle to read a particular letter stems from the question, “Which language should I use?” or from the difficulty in memory recall when twice as much is being remembered as a single-language child. 

The next time I am beginning a Snellen exam, then, and the child hesitates, I think of this struggle. I suggest that she give me the sound instead of the name. “Mmm,” she promptly responds. I point to the next: “Ah.” Then “sss.” We are on a roll. She passes the test with flying colors, now beaming with confidence. Since the purpose of this exam is to assess vision, rather than the child’s ability to read letters, I am not compromising the exam at all by making this alteration. I am, however, allowing the child to use her sense of hearing, with the formation of sounds, instead of requiring her to rely solely on her memory of words that she may struggle to associate with anything suitable to help them cement in her brain. 

In another real-life scenario, I conducted my own situation in which children are making their own books. Incorporating my hobby of visual art (mostly pencil or ink drawing, but other mediums as well) into my experience as a writer and school librarian, I planned a summer day camp in my home, advertising it in my neighborhood, community, and friend groups. It was called “Creative Pages,” and the idea was to have the children spend the day reading award-winning picture books for inspiration, writing their own stories, illustrating with their own artwork, and then putting it all together into a book. I researched bookmaking techniques, found places to purchase discounted materials, and scheduled the sessions. Afterwards I was confident that I did well for these children, seeing the pride on their faces when they saw their own hard work come together.     

This was years ago, before the existence of the Brooklyn education manual. But I see no reason why this same sort of scenario, as I did with my Creative Pages students, would not be equally as successful with a group of students making their own science, math, or geography textbooks.

Book manuscript from the Nonny Hogrogian Papers. Archives & Special Collections, University of Connecticut Library.
Book manuscript from the Nonny Hogrogian Papers. Archives & Special Collections, University of Connecticut Library.
Illustration from the Nonny Hogrogian Papers. Archives & Special Collections, University of Connecticut Library.
Illustration from the Nonny Hogrogian Papers. Archives & Special Collections, University of Connecticut Library.

While sitting in the library, working on this report, I overheard a conversation between two parents whose children are playing in the reading nook. They were speaking of their efforts to expose their children, at an early age, to multiple languages. One mom explains that her own experience includes 3 languages, living in one home country but raised by parents speaking a different language than that of the country in which they lived. English was the last language she learned, at the age of 6. She then mentions that she is dyslexic, but only in her 1st two languages. In English, oddly, she is not dyslexic. I cannot help but note the irony of this situation so introduce myself, ask a few follow-up questions, and request permission to include her as an example here. I cannot help but wonder if the challenges she faced, as a multiple-language child, played a role in her ability to now function exclusively in English, unhindered by dyslexia. I also suspect that she was aided in her learning ability, consciously or not, by some sort of incorporation of various senses as she navigated a challenging learning environment. 

Suggested Applications of Researched Materials into Present-Day Scenarios 

As I consider the value of the materials I have researched for this report, it occurs to me that a very recent educational situation could have benefited heavily from the wisdom of the past. Namely, the Covid pandemic. We are just now, 6 years since its beginning, starting to realize some of the effects this global trauma had on the learning of those in their educational years at the time. And as clearly horrible of a scenario as it was, there are ways in which it awakened us to things that needed to change. Of course there are those who suffered from the sudden isolation from their peers, and from the switch from in-class to virtual learning. But there are many others who managed to thrive, letting it be an opportunity to let go of expectations of how learning should look, and instead find ways to embrace the benefits available from a lack of schedule rigidity, from the freedom to be outside and not stuck in a classroom all day, and from the option of finding new methods available, beyond the textbook and the computer, with which to solidify a deeper understanding rather than rote memorization. When home schooling became the only option, many people realized that it could be turned into whatever each child thrived in, and let go of stereotypes of, and biases against, that option. I am by no means suggesting that children should forego traditional schools and all be home schooled. I am, however, suggesting that learning should expand outwards from the classroom, and that we should all consider ourselves lifelong learners, with the ability to learn in infinite ways and settings.  

I saw this sort of expansive view in the American Montessori Society Records, in the Handicapped Homemakers files, and in the pages of the Artists’ Books. I saw ways in which those who came before us encountered unexpected challenges to learning, and found ways to thrive in spite of them. Our Pandemic is not the first time that physical school buildings have been removed as an option: one of the Artists’ Books I viewed was created as a commemoration of the Virginia school students affected when their public schools closed from 1959 to 1964, rather than obey a court order to desegregate. The book is composed of newspaper article clippings, quotes from students affected at the time, 50 years later, foldout timelines of court proceedings leading up to, and during those 5 years, and reactions to the “Free School” system (non-graded, tuition-free) that was set up for white students in the interim, and accounts of alternative solutions taken by other parents and former public school teachers.  

While this closure came about as a result of a terrible racism, and created greatly negative disruption to the lives of those affected, it also bred a resilience and adaptability that has shown itself throughout history. When we take the time to consider the resilience that people have shown in the past, it can offer us the vision to see that we can show the same resilience in our present day challenges, and in those that are certain to arise in the future.  

Page from Unbound, by Jessica Paterson, Archives & Special Collections, University of Connecticut Library
Page from Unbound, by Jessica Paterson, Archives & Special Collections, University of Connecticut Library

Conclusion  

I spent my first 15 years in the workforce as a teaching librarian and a French teacher. I am now a pediatric nurse. I do not think these two careers are incongruous. The brain informs the body, and I feel like the years I spent in education play into my current work in healthcare. 

When my brain feels stuck, or anxious, or upset, I go for a swim. Stroke by stroke, I let my brain wander in the silence, until suddenly, inevitably, the synapses start to fire, and I have a solution, am calm, or am soothed. 

Whatever an individual’s particular physical needs may be, I think we all have this ability, if we are able to tap into it, to allow some sort of physical outlet to help with the needs of the brain. Consequently, there is great value in considering methods that have been successful in the past, as well as those being used in the present. My hope is that this paper can be an entryway to help us all to begin, or continue, the process of helping those around us, and ourselves, as we let the body teach the brain. 

Works Consulted 

Booklyn Education Manual: Bringing Bookmaking to Your Students. 2005, booklyn.org/programs/booklyn-education-manual-2/. Accessed 20 May 2026. 

Cartoneras, Pensaré . Ayotzinapa, Desaparición Política. 2014. 

“Deep Dive with Aditya Vishwanath on Creative Access.” Kelly Corrigan Wonders, 26 May 26, 2026, https://podcasts.apple.com/us/podcast/kelly-corrigan-wonders/id1532951390?i=1000769607810&r=1461 

“Five Ways To Renew Your Creative Practice (Without Burning Out or Selling Out).”, 28 May, 2026, https://podcasts.apple.com/us/podcast/the-hutchmoot-podcast/id1437192826?i=1000769948176&r=1423

Frederick, Sommer. Alle Kinder Sind Botschafter. Nazraeli Press, 1992. 

Gómez-Peña, Guillermo, et al. Codex Espangliensis from Columbus to the Border Patrol. San Francisco, Ca. City Lights Books Cop, 2000. 

Hogrogian , Nonny. “Nonny Hogrogian Papers.” 2014. Images included on following pages. 

“HPR4646: Mobile Gaming.” Hacker Public Radio, 24 May, 2026, https://podcasts.apple.com/us/podcast/hpr4646-mobile-gaming/id281699640?i=1000769507796&r=945

Lyons, Joan. My Mother’s Book. Rochester, NY, Visual Studies Workshop, 1993. 

May Elizabeth, Eckhardt. Handicapped Homemakers. 1957. Images included on following pages. 

Peterson, Jessica, et al. Unbound. Northport, Alabama, Paper Souvenir, [Farmville, Virginia, 2014. Images included on following pages. 

Pfeiffer, Werner. State of the Union : A Snapshot of Our Political and Social Conundrum. 2014. 

Society, American Montessori . American Montessori Society Records. 2022. 

Stein, Sammy. ​Le Musee de La Tortue = El Museo de La Tortuga = the Turtle Museum = 亀博物館​. 2017. 

Weber, Marshall. Freedom of the Presses : Artists’ Books in the Twenty-First Century. Brooklyn, Ny, Booklyn, 2019. 

“Thinking with my hands” in the Archive: Second Generation New York School Gems

 

Currently a postdoctoral fellow in the School of Literature, Media and Communication at Georgia Institute of Technology, Dr. Nick Sturm is an Atlanta-based poet and scholar. His poems, collaborations, and essays have appeared in The Brooklyn RailPENBlack Warrior Review, The Best American Nonrequired Reading, and elsewhere. His scholarly and archival work on the New York School of poets can be traced at his blog Crystal Set. He was awarded a Strochlitz Travel Grant in 2018 to conduct research in the literary collections, including the Notley, Berrigan, and Berkson Papers, that reside in Archives and Special Collections.

 

In my first-year writing course at the Georgia Institute of Technology in Atlanta where I teach as a Marion L. Brittain Postdoctoral Fellow, my students are reading books by Second Generation New York School poets to critique and creatively reimagine concepts of youth, coming-of-age narratives, and the overlap between do-it-yourself and avant-garde aesthetics. We already read Joe Brainard’s I Remember and Ted Berrigan’s The Sonnets, two versions of youth, memory, and selfhood constructed by male poets of the New York School, and were beginning to read Alice Notley’s Mysteries of Small Houses (1998) to extend this intertextual conversation about youth through the perspective of a female poet. While re-reading Mysteries, a book of autobiographical poems that tracks Notley’s “I” through the prismatic complexities of life and writing, I returned to her poem “Waveland (Back in Chicago)” in which Notley, challenged by the responsibilities and strictures of living inside concepts like motherhood and femininity in the mid-’70s, describes her process of collage-making, a practice Notley continues to be devoted to.

Frozen collection of world—this is “art” I don’t

write much poetry;

I’m thinking with my hands—a ploy against fear—

I have a pile of garbage on the floor

 

The poem then catalogs a series of collages with titles like “WATERMASTER” and “DEFIES YOU THE RHYTHMIC FRAME,” and also describes a collage composed of “a photo of a stripper I’ve named / Barney surrounded by cutout words she / dances to poetry.” Reading these lines, I remembered that I had actually just seen this collage in Notley’s papers at the University of Connecticut. Among a couple dozen collages by Notley, there was Barney herself, headless, cape trailing behind her, walking across a fragment of moon. After discussing this poem in class, I was able to show my students the collage to talk about how seeing an example of Notley’s visual art helped us think about her critiques of femininity, motherhood, and aesthetics. Students were surprised that I had such an example to show them—what had seemed like a passing reference in a poem suddenly become material. They immediately started to describe the effects of juxtaposing the collage’s title “2 Nursery Rhymes” with the presence of a nearly-nude woman. They asked what it might mean for Notley to be a “brilliant mother” in association with the mythological feminine connotations of the moon. And they noted how the epistolary gesture that opens the collage’s text, “hi Carlos Dear Henry,” resonated with Berrigan’s The Sonnets, which is riddled with salutations like “Dear Marge,” “Dear Chris,” and “Dear Ron.” Seeing Notley’s collage projected in front of them, pairing the material evidence of the poem’s description with a conversation about how the visual medium supplemented their reading of the text, students said they felt a different connection to the poem, to Notley’s work, and to our entire discussion that day.

Of course, none of this would have been possible without my recent visit to the archives at the University of Connecticut. Thanks to the generosity of a Rose and Sigmund Strochlitz Travel Grant, I spent a week in the papers of poets and artists like Notley, Ted Berrigan, Bill Berkson, and Ed Sanders, among others, reading voluminous correspondence with Joe Brainard, Anne Waldman, Bernadette Mayer, Lewis Warsh, Ron Padgett, and a litany of other Second Generation New York School writers. Well-known for its Charles Olson Research Collection, the Thomas J. Dodd Research Center is also home to a wealth of materials associated with the New York School and is a necessary destination for any scholar of 20th century American poetry. And though a week of nonstop work in the archive allowed me to read and assess a lot of material, the sheer amount of New York School material stored at UConn, much of which has only barely begun to be utilized by scholars, meant that I was inevitably rushing through stacks of papers, quickly unfolding and refolding letters, swiftly scanning folder titles, and scratching my own nearly incomprehensible notes in a frenzied, focused attempt to see and catalog as much as possible before having to return to Atlanta. Like Notley’s description of collage-making in Mysteries, the archive is a place where I’m also “thinking with my hands” as I arrange, photograph, and order material in “a ploy against [the] fear” of overlooking or not knowing the full extent of what’s present in the archive. Every piece of material, like in Notley’s collage, is necessary and meaningful. This is how “a pile of garbage” becomes both art and scholarship. Starting with what you touch, a life and intelligence are animated.

Notley wasn’t the only poet whose visual artwork is held at the University of Connecticut. Take this incredible poster-size collage “Blues Bombard” (1965) by Ron Padgett with the poet’s thick, elegant cursive painted over sliced fragments of sheet music that frame a photo booth portrait of Padgett, face half-obscured, cool, and mysterious. It’s rare to find visual artwork by Padgett that isn’t a collaboration with friends like Brainard or George Schneeman, and this piece is particularly astounding both for its size and the quick, pleasing, and humorous visual narrative that follows from the newspaper clipping-title, down across the rhyming and chiding main text ”more than likely this stinks greatly,” the arrows and question marks that logically and quizzically suggest a set of correspondences, the appearance of the artist mid-gesture, and the small, humorous, non sequitur conclusion “a hole in one. THE END.” It’s a lovely piece, and entirely Padgett in its cartoonish wit and simplicity.

I was also interested to work in Ed Sanders’s papers at UConn, which includes a wealth of material from the Peace Eye Bookstore, the infamous “secret location on the lower east side” where Sanders’s mimeograph magazine Fuck You: A Magazine of the Arts was published from 1962-65 until the store was raided by the NYPD on obscenity charges. Incredibly enough, the collection includes both a handwritten note from 1964 instructing Sanders to call an FBI agent and Sanders’s January 1965 mugshot following his arrest. After Sanders defeated the charges against him, Peace Eye temporarily reopened in 1967 with a Fuck You-style gala event auctioning off “literary relics & ejeculata from the culture of the Lower East Side.” The collection includes the handwritten notecards Sanders used to identify the various items for sale in the auction, like an “iron used by rising young poets to iron the buns of W.H. Auden during the years 1952-1966,” “Allen Ginsberg’s Cold Cream Jars,” and a letter—likely in protest—from Marianne Moore to Sanders in response to receiving a copy of Fuck You in the mail. Some of the material actually confiscated by the NYPD in the raid of the bookstore is in the collection as well, with the police evidence identification slips still attached, like a copy of a Joe Brainard drawing described by police as “Blue colored Headless Superman drawing with private parts exposed.”

Among collages and obscenity charges, the New York School material at UConn also runs parallel to and benefits from the archive’s already well-known collections of Frank O’Hara and Charles Olson papers. The resonance of these collections is embodied in two postcards; one from Frank O’Hara to Ted Berrigan and another from Berrigan to Charles Olson. Much can be made of the micro-lineage threads of the New American poetry and New York School that run through these three poets. Not only are Olson and O’Hara canonical energies within Berrigan’s The Sonnets, but Berrigan’s self-described “rookie of the year” arrival in American poetry occurred at the 1965 Berkeley Poetry Conference, over which Olson’s presence loomed large. Additionally, O’Hara’s work had been a guide for Berrigan on how to live as a young poet. What’s great about the 1962 postcard from O’Hara to Berrigan is that it offers a reversal on the standard hierarchical narratives of literary tradition. Here, it’s O’Hara praising Berrigan’s poems as he invites him out for a drink and “to meet K. [Kenneth] Koch,” who would also be a New York School hero to Berrigan. Evidenced by the tape arranged on the edges of the card to harden and preserve it, Berrigan clearly treasured this correspondence from O’Hara, which due to the use of Berrigan’s full name, seems to have been their very first formal exchange. One images Berrigan, then 27 years old and having just moved to New York City the year before, formally expressing his admiration for O’Hara’s poems in his initial note. This postcard shows Berrigan’s first-hand devotion to his aesthetic sources. On the other hand, the August 16, 1966 postcard from Berrigan to Olson reveals an already well-established and easy going correspondence with the author of The Maximus Poems and “Projective Verse,” as Berrigan, referencing the postcard’s text on the other side, writes, “Dear Charles, We’re about to beat upwind. A loon is crying tonight. Maine is full of sky,” and signs off, “Be seeing you, Ted + Sandy.” Likely having stopped in to see Olson in Gloucester, Massachusetts on the drive up to Maine with his first wife, Sandy, Berrigan is playfully following up with the elder poet only about three weeks after the death of O’Hara. Though Olson himself would die in 1970, and it’s unclear if further correspondence between the two poets exists, Berrigan’s “full of sky” note to Olson again shows his sense of intimacy with the poets whose work he respected and learned from. The archive, as it often does, is showing us how lineage, tradition, and aesthetic exchange are never abstract.

I’m looking forward to returning to the archives at the University of Connecticut to spend more time thinking through the material traces of the poets I love and study, and to continue to utilize these important and still-growing collections to illustrate the ongoing importance and value both of the New York School’s second generation gems and the pedagogical, personal, and scholarly correspondence that archives allow us to develop. “I must be making my own universe / out of discards,” Notley writes in “Waveland (Back in Chicago),” and there’s a sense of that same construction of a world in the loose, wayward ephemera of the archive. What’s most fulfilling is how the process of looking and reading in the archive is always one of presence, and often magically, of being in contact with your sources.

-Nick Sturm

 

 

Deep Dives: Bringing the APC Files Collection Online

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. 

Over the past year I have been shepherding a project in order to make the APC Files Collection discoverable outside of a card catalog cabinet in the lobby of the UConn Archives.  This collection consists of over four-thousand subject files of single issue publications, fliers, newsletters, comic books, and various ephemera relating to the underground press and political activism from the 1960s to the present.  The ultimate goal of the project is to digitize and upload the entire APC Files collection to the Connecticut Digital Archives (CTDA).

At the moment I am uploading the first collection of scanned materials, which means this project, as a whole is entering into what could be considered its final phase.  Final of course may belie the fact that it will require a tremendous amount of effort and continuing coordination to scan these materials in conjunction with the staff of the digitization lab at Homer Babbidge Library, without whom this project would not be possible.

This project has come with a new host of challenges for me as an aspiring archivist and seasoned academic, and has given me new opportunities to engage my more specialized research interests through different materials and addressing a broader audience as a result.

The Activist -A Student Political Quarterly published out of Oberlin College: 11.1, 1970

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A New Perspective on The U. Roberto Romano Papers

Marijane Ceruti, Assistant Archivist of the U. Roberto Romano Papers, is a 2014 BFA graduate of the UConn School of Fine Arts. Since graduation, she has worked as a freelance photographer and photography assistant in addition to exhibiting and gaining notoriety for her fine art photography work. She has an extensive technical background in addition to her knowledge of the history of photography.

My first day on the job as the Assistant Archivist of the U. Roberto Romano Papers was a good one. I was handed the torch by fellow UConn alumnus and friend Brooke Foti Gemmell who was taking a different position within the UConn library through her work here. “The first couple of weeks will be intimidating, but you’ll get the hang of it” were words that I heard come out of her mouth more than once. As I got settled in and took the time to dive into the collection I began to realize I shared a lot with the photographer whose work I would be getting to know. Robin and I were both Italian-American photographers who spoke French, liked crass humor and made a lot of the same choices in photography. Robin cited the greats like Henri Cartier-Bresson and Robert Frank as some of his inspirations and I too could count them as some of my own.

 

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As I sifted through memory card after memory card of born digital images in the first couple of days, I started to notice that Robin and I made the same aesthetic decisions in our work. Photographers holding their subjects hostage in front of the lens until finally giving into the moment, making corrections to posture and hair as shoots progressed and even down to equipment choices. Without being prompted I found myself collecting my favorite images of Robin’s in a  folder on my desktop titled “Notable Images”. Now the folder is 600 images strong and I’m sure it will continue to grow. As I look at them, I am reminded of how unique of a person Robin was as he exhibited  equal parts compassion and ruthlessness, humility and prestige, documentarian and artist. These traits are necessary and rare in someone that captures such emotionally charged scenes and shares them with the world. I look forward to sharing this information with the public so that they can see the truth behind child labor, the life of an artist and the complexities that come with processing such a large and vast collection that spans a revolution in photography.

Marijane sorting through prints from Robin’s early work in Pakistan

Now that I have been in this position for 6 months, I am starting to get comfortable curating and archiving with Robin’s voice in mind. I see the choices he made and feel confident that I can respect his vision as well as his compassionate and strong voice when representing the collection. I am so grateful that I was given this opportunity to take a peek inside the collection of such an empathetic and talented photographer. I feel blessed that I get to hold a position that is important and valued within the university and the world alike. I hope that I am able to share Robin’s work in the way in which he intended, care for it in the way that it deserves and bring my talents of exhibiting and marketing to the  collection for students and scholars to learn from and enjoy.

I’m proud to say I will bring pieces of Robin’s work into my own as an artist. In a world that is hurting, I am honored to be able to represent a body of work that was founded by the desire to end suffering.

Thank you to the University of Connecticut Library for this opportunity and to everyone that donated to the Robin Romano Foundation to make this position possible.

The Lonely Suffering of the Fallible Heart: Reexamining the Life and Writing of Edwin Way Teale

by Richard Telford

Author’s note: Though the product of many hours of research, writing, and revision, this chapter is nevertheless a draft; it will be subject to revision as the larger book in which it will appear takes shape. Still, I believe it begins an important process of bringing renewed attention to natural history writer and photographer Edwin Way Teale. Teale himself frequently published chapters of his books first in the popular journals of his day, such as Natural History, Audubon, Nature, and Coronet. I welcome critical response, either in the comment section here or through direct e-mail. I am grateful to the Archives and Special Collections staff for providing me the opportunity to share this work, and to the Woodstock Academy Board of Trustees for awarding me a sabbatical for the 2016-2017 school year so that this work could be undertaken.  Contextual information about the project and manuscript can be found here.

Chapter 9: The Lonely Suffering of the Fallible Heart

A man said to the universe:
“Sir, I exist!”
“However,” replied the universe,
“The fact has not created in me
A sense of obligation.”[i]

Stephen Crane, from “War is Kind,” 1899

Again and again, reason refutes the claims of worry; again and again, the rational mind points out the mathematical odds and the laws of averages—but again and again, the fallible heart returns to its lonely suffering.[ii]

Edwin Way Teale, March 22, 1945

The evening of April 2, 1945 began joyfully for Edwin Way Teale. It was an evening that affirmed his rising stature among the natural history writers of his day and perhaps, too, amongst the former-age titans he revered—Henry David Thoreau, John Burroughs, W.H. Hudson, and others. Two years earlier, he had accepted the John Burroughs Medal for distinguished natural history writing for his 1942 publication of Near Horizons: The Story of an Insect Garden. Now, two years later, he had returned to the American Museum of Natural History in Central Park West, New York, to look on as Rutherford Hayes Platt, a fellow Dodd, Mead natural history writer and photographer, received the Burroughs Medal. Platt’s 1943 This Green World was a book that in spirit, intent, structure, and design closely paralleled Grassroot Jungles (1937) and Near Horizons. Just as Edwin had suggested in 1937 that the amateur student of the insect world could be “like the explorer who sets out for faraway jungles” but do so in “the grassroot jungle at our feet,”[iii] Platt argued in 1943 that such wonders in the botanical world “were not rare nor discovered in a remote place, but were here all the time in the immediate surroundings of the everyday world.”[iv] That evening, Edwin noted later, “Platt pays tribute to my help in his acceptance speech.” He also celebrated his own election as “a Director in the John Burroughs Association” and expressed appreciation for the tenor of the evening, which “from beginning to end was in just the right key. I felt happy, enjoying every minute with no sense of impending doom.” It was “perfectly memorable.”[v]

The brief interlude of unrestrained pleasure that unfolded in “the Hall of the Roosevelt Wing”[vi] on that early April evening offered much-needed reprieve. It was a time marked largely by deep foreboding for Edwin and Nellie Teale as their beloved Davy, their only child, fought near the Siegfried Line during the final collapse of Hitler’s Third Reich. This fear had taken root in the elder Teales’ shared consciousness long before David’s August 1943 enlistment in the Army Specialist Training Program at Syracuse University, long before his transfers to Forts Benning and Jackson after the ASTP was disbanded, and long before his deployment as a Private First Class to the European Theater of Operations in the fall of 1944.[vii] Edwin would later characterize this fear as “the dread of seven years—from 1938 to 1945,”[viii] and it was a dread that consumed the collective consciousness of a generation of parents watching their children come of age during the rise of Fascism and Nazism in Italy and Germany—the future course of which became fully evident with the September 1, 1939 German invasion of Poland—and the apogee of Japanese Imperialism, made plain to the American public by the December 7, 1941 Japanese attack on the U.S. Pacific Fleet at Pearl Harbor, Hawaii. The Teales’ dread is evident in a brief but poignant anecdote near the end of the eighth chapter of Edwin’s 1945 book The Lost Woods, a book that, for Edwin, would become inextricably linked to David’s wartime service and to his death.

In the aforementioned chapter, “On the Trail of Thoreau,” Edwin chronicles the final leg of a 1939 car trip during which he traced the famous river journey undertaken by Henry and John Thoreau exactly 100 years earlier. Henry Thoreau, in his 1849 A Week on the Concord and Merrimack Rivers, wrote in great part to memorialize John, who had died in excruciating pain in his brother’s arms three years after the trip, succumbing to tetanus. Edwin too, in The Lost Woods, would later recount a trip he and David took by canoe on Middle Saranac Lake in upstate New York. “The Calm of the Stars” would be the last chapter completed for the book’s first draft, written while David was declared Missing in Action in Germany. It, too, would later serve as a memorial. In “On the Trail of Thoreau,” Edwin noted how, one century after the Thoreaus’ journey, on September 2, 1939, “the Merrimack flowed as placidly as before around the great bend of Horseshoe Interval.”[ix] The world’s waters, however, were turbulent and troubled: “Thoreau’s September day had been one of comparative peace in the world,” while, “a century later, it was a time of fateful decisions, of onrushing war, of the breaking of nations.”[x] The conclusion of Edwin’s 1939 journey came one day after Nazi Germany’s invasion of Poland, one day before declarations by France and Britain of war on Germany, and six days shy of David’s fourteenth birthday.

Pulling into a filling station that evening, Edwin noticed the attendant, “a young man in his early twenties,” who appeared “silent and preoccupied” as he listened to a “radio […] shattering the Sabbath quiet, raucous with direful news.”[xi] Edwin’s description of this young man is telling. It stands in stark contrast with most of the book’s content, which largely lives up to its subtitle, “Adventures of a Naturalist,” and strays only rarely into social commentary or overt emotionality. Edwin wrote:

We spoke but a few sentences that morning. I have never seen him again. I don’t know his name. Yet, often he has been in mind and his face, like a stirring countenance seen under a streetlamp, has returned many times in memory. Under the blare of the radio, that late-summer Sunday, we were drawn together by a common uncertainty, by a common experience. Although we were strangers before and strangers we have remained since, we were, for that tragic moment, standing unforgettably together. I have often wondered about his fate in the years that followed.[xii]

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Great Years, Great Crises, Great Impact: Reexamining the Life and Writing of Edwin Way Teale

by Richard Telford

uconn_asc_1981-0009_box270_env1724_ed_and_nellie_1948Shortly before American natural history writer Edwin Way Teale died in 1980, he agreed, with his beloved wife and working partner, Nellie Donovan Teale, to donate all of his literary and personal papers and related materials to the University of Connecticut. It was an extraordinary gift. Teale documented his working life and his personal life to an astonishing degree, often keeping several journals concurrently, each with a distinct purpose. For example, from 1938 until 1980, Teale kept an annual daily diary. In 1945, of these diaries he wrote, “These books record the days of the great years of our lives.”[i] These were short but highly detailed records. During the same period he kept these diaries, Teale likewise wrote more elaborated journal entries in Adventures in Making a Living, an unpublished, ongoing narrative of his life. This he called the “book of my heart.”[ii] While here, too, he recorded daily events, frequently overlapping those recorded in the diaries, he also reflected on them in deeper ways. Here, he celebrated the triumphs of his life and reconciled the tragedies. Here, he tried to confer order and sensibility on the world of human affairs, a world that often bewildered him. The ninth and final volume of this 43-year journal was dedicated solely to the final days of his life, beginning with his prostate cancer diagnosis in 1974. Even this most personal and final journey he documented in detail and left as a record. And, these two records of a meaningfully-spent life, as rich as they are, represent only a very small fraction of the materials housed in his voluminous papers.

This year, through the generosity of the Administration and the Board of Trustees of Woodstock Academy, where I have taught for two decades, I have been granted a year-long sabbatical to complete research at the Dodd Research Center, research that will enable me to write a book-length work on Edwin Way Teale. This builds upon three years of generous support of my work by the Archives and Special Collections Department at the University of Connecticut, which has provided me financial assistance through the Rose and Sigmund Strochlitz Travel Grant program. I am very grateful for this support, and for the extensive on-site help of the Archives staff, particularly Melissa Watterworth Batt.

John Burroughs, whom Edwin Way Teale admired greatly, wrote in 1902, “The day inevitably comes to every writer when he must take his place amid the silent throngs of the past.”[iii] While this has come to be the case for Edwin Way Teale—and John Burroughs too—I am not convinced it has to be. Teale has much to offer us now, especially as we face an environmental crisis in which our resource exploitation and waste production cannot continue at current rates without grave consequences for the Earth and, ultimately, for ourselves. Now, as I continue my research within the vast holdings of the Teale Papers and begin the book in earnest, I am both awed by the enormity of the task and excited by the opportunity. Teale’s significant body of published work and his profound impact on the modern conservation movement—particularly through his support of and influence upon many of its principle figures, including Rachel Carson and Edward Abbey—merits reexamination.

The generosity of the Archives and Special Collections staff has extended so far as to allow me to publish a series of representative chapter drafts in this forum as the research and writing processes unfold. These will inevitably evolve as I make new discoveries in the collection. Still, even in draft form, I believe that these chapters can play a meaningful part in bringing the contents of the Teale Papers out into the light of public view, perhaps prompting thoughtful reflection on their importance. I am deeply grateful to the Archives and Special Collections staff for this opportunity, and I welcome public comment and insight on my work here, either through the comment forum on the blog or through direct communication (contact information below). .

On a practical note, the first three chapters to be featured in this forum document events in roughly the middle period of Edwin Way Teale’s life. Though I plan to address Teale’s early life in the book as well, my intuition told me to start where I did, during the period when Edwin and Nellie’s beloved son David, their only child, was serving in Europe late in the Second World War, a period that Edwin called “one of the great crises of our lives.”[iv]

Richard Telford teaches literature and composition at Woodstock Academy in Connecticut.  He has a BA in English from the University of New Hampshire, an MS in English Education from the University of Bridgeport, and an MS in Environmental Studies from Green Mountain College. Working with the Connecticut Audubon Society, he helped design and found the Edwin Way Teale Artists in Residence at Trail Wood program, which he directs.  He was recently awarded a Rose and Sigmund Strochlitz Travel Grant by the University of Connecticut to support his manuscript for a book-length work on naturalist, writer and photographer Edwin Way Teale.

References

Burroughs, John. Literary Values and Other Papers. Boston and New York: Houghton, Mifflin and Company,1902.

Teale, Edwin Way. Adventures in Making a Living: Volume II, unpublished journal, February 1944 to May 1946. Box 113, Edwin Way Teale Papers 1799-1995, Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut Libraries.

Teale, Edwin Way. Guild diary, 1945. Box 99, Edwin Way Teale Papers 1799-1995, Archives and Special Collections, Thomas J. Dodd Research Center, University of Connecticut Libraries.

Footnotes:

[i] Teale, Edwin Way. Adventures in Making a Living, Vol II. 3 January 1945.

[ii] Teale, Edwin Way. Adventures in Making a Living, Vol II.18 April 1945.

[iii] Burroughs, John. Literary Values and Other Papers. 1

[iv] Teale, Edwin Way. Guild diary 1945. 4 April 1945.

The Romano Papers: Stolen Childhoods in 4D

Students from Prof. Anna Lindemann's Motion Graphics I course explore the Romano Stolen Childhoods Collection.

Students from Prof. Anna Lindemann’s Motion Graphics I course explore the Stolen Childhoods Collection, part of the U. Roberto (Robin) Romano Papers.

At the end of October, I was delighted to help facilitate a class visit to the Thomas J. Dodd Research Center, along with Graham Stinnett, the Archivist for Human Rights Collections and Alternative Press Collections at the Archives & Special Collections Department. Digital Media & Design Professor Anna Lindemann brought her Motion Graphics I course to see the U. Roberto (Robin) Romano Papers in person; the two classes were able to get a look behind the curtain of the Stolen Childhoods collection, to see and handle the physical materials and to learn some context surrounding the digital collection that they were already familiar with.

Professor Lindemann charged her students with exploring the application of motion graphics to still photographs, and then added the challenging component of upholding the intentions of a collection dealing with the gravity of child labor. To Lindemann, it was integral that the students experience the physicality first-hand, and were able to learn more about the motivations behind Romano’s work.

“Working with the Robin Romano collection was eye-opening. Seeing his life-long devotion to photographic art form as a way to raise awareness about child labor definitely made the class and me reflect on our own modes of working and the potential significance of our work. There was something especially striking about seeing his boxes upon boxes of work prints, negatives, photographs, and hard drives, including one of his hard drives labeled “not working.” This brought to mind so many of the aspects that we grapple with in digital media classes: the great mound of (often unseen) work behind a single effective image, and the capacity for an image or animation to be at once impactful and ephemeral.” – Professor Anna Lindemann

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The Romano Papers: An Introduction To Archiving The Collection

Toddler Screams Atop Garbage At The Bekasi Dump

As a University of Connecticut alum, I can think back to a handful of trips to the Thomas J. Dodd Research Center while working on projects and papers as an undergraduate. Back in June, I set foot in the stacks of the Archives and Special Collections Department for the first time as I interviewed for the position of Archivist Assistant for the U. Roberto (Robin) Romano Papers. I was introduced to the side of the ASC that students don’t typically get to see, and was presented with a literal mountain of material that would soon become my charge. Continue reading

Black Experience in the Arts: Poet and Activist Jayne Cortez

JayneCortez1Guest blog post by Marc Reyes, doctoral student at the University of Connecticut and 2016 Summer Graduate Intern in Archives and Special Collections.

If you think poetry recitals are dull, then you haven’t heard Jayne Cortez read her work.  Her poem, “Dinah’s Back in Town” (dedicated to blues singer Dinah Washington), begins:

“You know, I want to be bitchy.  I said I want to be a bitch.  Cause when you’re nice, true love don’t come into your life.  You get mistreated, mistreated and abused by some no good man who don’t care nothing about no blues.”

After declaring that “…true love don’t come into your life,” the audience laughed and hooted their approval of the sentiment.  The rest of Cortez’s tribute to Dinah Washington cautioned about the promises fast-talking men make to women.  And if women struggled to find the courage to stop shady men in their tracks, they only need to look to the titular heroine for inspiration.  Cortez described Washington as an assertive, tough-as-nails woman with no patience for schemers and scoundrels.  And when a bad man comes around, just tell him, “Dinah’s back in town.”

Cortez read this and several others poems on May 12, 1972.  This 1972 performance was the first of a dozen individual visits she made to the University of Connecticut.  Her twelve trips to Storrs were all for the same reason: she was invited to speak to the undergraduates enrolled in the School of Fine Arts course, Black Experience in the Arts.   The class, which operated under this title for over two decades, heard directly from a variety of talented musicians, actors, dancers, singers, artists, and writers.  Cortez was an ideal candidate to speak to UConn students.  Her acclaimed poetry and spoken word performances, often with musical accompaniment, made her a leading figure in the Black Arts Movement of the late 1960s and early 1970s.  Besides her considerable talents as a writer, Cortez was also a teacher, a publisher, founder of Los Angeles’ Watts Repertory Theater Company, and an activist who dedicated her adult life to ending racial and gender discrimination in American society.

CortezEverywhereDrumsWhen Cortez spoke in the spring of 1972, she read selections from her 1971 poetry collection, Festivals and Funerals.  The delivered poems touched on ideas about loneliness, anger, and love.  Others addressed how black Americans adjusted to living in northern cities compared to life in the rural South.  Another, “Watching a Parade in Harlem,” described the frenzy generated by a local Harlem parade and compared the appearance of many New York City policemen to a colonizing force.  Her tribute to Dinah Washington was not the only work that addressed struggles women encounter.  Her composition, “I Am a Worker,” was dedicated to “all my sisters in the garment industry.”  The women depicted in this poem are garment workers who toil under harsh conditions for low pay.  Her words make vivid the swollen legs, stiff hands, and back-breaking labor these women undertake in pursuit of “survival money.”  After listing the many bills and fees that make “survival money” less a reality and more a dream, the narrator asks, “Do you think a revolution is what I need?”

Cortez continued speaking to the Black Experience in the Arts course over the next twelve years, her visits becoming almost an annual occurrence.  Her lectures did not recycle content or repeat poems because she was producing so much new and original work. Between the years of 1972 to 1984, Cortez released four books of poetry, five spoken word recordings, and founded the publishing company, Bola Press.  But there was more to Jayne Cortez than her work and in a February 1984 lecture, she discussed more personal matters including her childhood, her first battles against racial injustice, and her decision to became a writer.

In this lecture, students learned about Cortez‘s birth in Arizona and growing up in postwar Los Angeles.  She recounted how she studied to be an actress and then a director, but found writing to be her true calling.  While studying art, music, and drama in high school and college, Cortez became involved in the civil rights movement.  In the early 1960s, she spent two summers working for the Student Nonviolent Coordinating Committee (SNCC), registering black voters in Mississippi.  She told students that this edifying work inspired her to produce art, infused with integrity, which mixed “political language with the poetic.”

JayneCortez2After explaining how her writing career started, Cortez informed students about the opportunities a writing career can produce.  Because of her success, she received invitations to speak at international poetry festivals throughout Europe and Africa.  She described the artistic affirmation experienced by performing at Carnegie Hall or having her books reviewed in The New York Times or The Washington Post.  Lastly, Cortez concluded her presentation by bringing to the stage her band, the Firespitters, who provided musical accompaniment to her poetry.  Cortez’s use of music to emphasize her work was not a gimmick; Cortez and the Firespitters played together for over three decades and released thirteen albums.  By incorporating music into the reading of her poetry, Cortez became a pioneer in the field of poetic performance art.

This summer, additional Jayne Cortez lectures debuted on the Archives and Special Collections digital repository.  Now, six of Cortez’s twelve Black Experience in the Arts lectures can be easily accessed online with plans to digitize the rest.  In addition, Archives and Special Collections possesses physical copies of Cortez’s work in book and audio form.  For scholars interested in poets like Jayne Cortez or the broader Black Arts movement, Archives and Special Collections has many resources available to researchers.  Stay tuned as we continue to make these valuable materials more widely known and available as well as additional blog posts highlighting other prominent lecturers who visited the university and spoke to Black Experience in the Arts students.

Marc Reyes is a doctoral student in the Department of History at the University of Connecticut.  He received his B.A. in History from the University of Missouri and his M.A., also in History, from the University of Missouri-Kansas City. His research investigates the United States and its interactions – diplomatically, economically, and culturally – with India.  As a 2016 graduate intern, Marc is excited to gain additional experience working in a university archive and will be exploring the history of the Black Experience in the Arts course here at UConn as well as the broader movement of 20th century black expression in the arts.