Using Zines to Build Community

Make a Zine cover image

Archives & Special Collections acquired a collection of zines for use in research, teaching, and learning activities across campus and in the community. Zines (rhymes with “beans”)  are low-barrier, low-budget, photocopied publications in which authors are in full control of the entire process of creating a publication, from writing and layout to printing and distribution. Zines are made for the purpose of sharing information, and have often been used by historically marginalized or underrepresented subcultures and social movements to build communities where people can connect and communicate with one another. In times of strife and conflict, zines offer a cathartic art form to create and share stories of lived experiences and play a large role in communication for members of social and political movements.

Zine class in Archives & Special Collections

The zine collections in Archives & Special Collections contextualize and complement resources available at the UConn Library, including zine-making kits in the Library’s Maker Studio and publications available in the circulating collections for learning about and making zines.

Here are a few resources to get you thinking about making your own Zines

Post by Rebecca Parmer, Head of Archives & Special Collections

From the Archive – UConn’s U.S. Anti-Black Racism Course.

Using activism and social justice collections in Archives & Special Collections.

“These issues are no different than those faced today, which I think highlights the idea that progress is a sustained organizing action and students need to see what has worked in the past and some things that haven’t.” – Graham Stinnett, Archivist

This fall UConn offered a new course designed to introduce students to the foundational history of systemic and anti-Black racism in the U.S. that underlies the current movement. The free course, titled U.S. Anti-Black Racism is coordinated by a team of three faculty of color at UConn through a series of online modules with topics including the history and concepts of systemic and institutionalized anti-Black racism, Black resilience and resistance, and intersectional solidarity.

April 24, 1974, issue of the Connecticut Daily Campus
April 24, 1974, issue of the Connecticut Daily Campus

One of those modules, Anti-Blackness on the College Campus, will highlight the Alternative Press Collections held in Archives & Special Collections. The module explores the Black student sit-in of April 22-24, 1974 at the University of Connecticut’s Wilbur Cross Library.  Using historical documents and photographs, archivist Graham Stinnett contextualizes and explores the recorded past to demonstrate the impact students of color have had in anti-racist activism at UConn.  A video created specifically for the class has been released as part of the celebration of the 25th anniversary of Archives & Special Collections as well as some other resources including photos and an interview with former library director Norman Stevens. 

Black student protest in Wilbur Cross Library, from the UConn Archives, April 23, 1974.
Black student protest in Wilbur Cross Library, from the UConn Archives, April 23, 1974.

Lessons from the Past – Open Access Primary Sources and COVID-19

In celebration of Open Access Week 2020, this is the fifth and final blog in a series written by the UConn Library Scholarly Communications Coordinating Group (SCCG) to explore how Open Access has impacted the COVID-19 pandemic. To learn more about the SCCG and find more resources, see our Scholarly Communications webpage.

As the novel coronavirus has spread across the globe, it has sparked comparisons to past global health crises, such as the influenza pandemic of 1918-1919. Seeking to make sense of the pandemic’s impact, scholars, physicians, public health officials, and journalists alike have turned to the past, drawing upon historical accounts and knowledge of these past events to inform our response today. 

Archives, libraries, museums, and agencies around the world have developed open collections of historical resources and primary sources related to global pandemics, epidemics, and other public health crises. From governmental, political, and public health actions to personal accounts, these freely accessible resources provide important insight and context into how societies responded to and learned from these events, helping us to not only understand our current environment but also to better prepare for the future.  

Resources: 

The Chicken of Tomorrow and the Land Grant University


The Digital Public Library of America (DPLA) connects people with the rich history found in the public institutions across America. As you may remember, the UConn Library, which runs the Connecticut Digital Archive, officially joined the DPLA as a hub for CT history in March. This is another article from Greg Colati on the kind of information you can find now that we have access through this new platform.

Written by Greg Colati, Assistant University Librarian for University Archives, Special Collections & Digital Curation

Winner of Chicken of Tomorrow Contest. (1946) Retrieved from the Digital Public Library of America.

Created originally by the Morrill Act of 1861, a designated college in each state was given grants of Federal land to sell that would then be used to support practical education in agriculture and industrial arts. Although not the original Land Grant college in Connecticut (that’s another story that you can learn about here), Storrs Agricultural College was given Connecticut’s Land Grant designation in 1893, a little more than 10 years after its founding in 1881 as the Storrs Agricultural School.

Land grant universities take their practical educational and extension programs seriously, and through the 19th and 20th centuries they led the transformation of American agriculture from traditional to more scientific approaches, often running contests and competitions to encourage adoption of modern methods. “Chicken of Tomorrow” contests held throughout the country in the mid-twentieth century encouraged farmers to use scientific methods to breed larger and more meaty chickens. Contrary to what you might expect from the name of the competition, at the UConn the chickens were typically displayed butchered, plucked, and ready for cooking.

Chicken of Tomorrow Contest (Colonial Poultry House), University of Georgia. (1951). Retrieved from the Digital Public Library of America.

Similarly unlucky chickens were featured at the University of Georgia’s contest held at the Colonial Poultry House at the College of Agricultural and Environmental Sciences in the 1950s. And, although the chickens held by these two boys in North Logan, Utah were definitely alive, they probably met the same fate as their Eastern cousins soon after this photo was taken.

Dennis Funk, Sam King, and Larry Nyman (Chicken of Tomorrow), North Local City Library. (1910-1929) Retrieved from the Digital Public Library of America.

Arranged on tables with proud farmers and their families posed behind them, or serious student judges contemplating quality, photos of the Chicken of Tomorrow contests tend to elicit laughter from modern observers. But in their time, they were an important part of a national modernization of agriculture that fed a hungry and growing nation in the post-WWII era and illustrated the optimism and faith in science and technology that was a hallmark of that era.

A Sleeping Giant Wanders the Country

The Digital Public Library of America (DPLA) connects people with the rich history found in the public institutions across America. As you may remember, the UConn Library, which runs the Connecticut Digital Archive, officially joined the DPLA as a hub for CT history last month. In honor of DPLAFest2019, which happened over the last two days, we have another installment from Greg Colati on the kind of information you can find now that we have access through this new platform.

A Sleeping Giant Wanders the Country

View of Mount Carmel across fields, Hamden. The Connecticut Historical Society. (1890) Retrieved from the Digital Public Library of America.

View of Mount Carmel across fields, Hamden. The Connecticut Historical Society. (1890) Retrieved from the Digital Public Library of America.

Have you ever seen the Sleeping Giant? From certain perspectives, this natural rock formation in Hamden, CT resembles a man lying on his back. The story of a natural feature being the remains of a slumbering human giant is a part of the mythology of almost every culture, from Norse legends, to Greek mythology, North American creation stories, and Polynesian folk tales.

According to the legend as told by Connecticuthistory.org, our Sleeping Giant received its name thanks to a local Native American creation story. They believed that “the giant rock formation embodied Hobbomock, an evil spirit who became angry at the neglect of his people. In his rage, Hobbomock stamped his foot near the current location of Middletown, which caused the course of the Connecticut River to change. A good spirit named Keitan is said to have cast a spell on Hobbomock that caused him to sleep forever, preventing any further damage to the area.”

Sleeping Giant and Sheep Creek wilderness study/environmental impact statement, draft. (1990) University of California. Retrieved from the Digital Public Library of America.

Sleeping Giant and Sheep Creek wilderness study/environmental impact statement, draft. (1990) University of California. Retrieved from the Digital Public Library of America.

The Connecticut Digital Archive contains more than 100 different references to the Sleeping Giant. Looking into the DPLA we can find the Connecticut version of the Sleeping Giant combined with Sleeping Giants from:

Colorado
Wyoming
Montana
Thunder Bay, Ontario
Minnesota

to name just a few.  All of them offer a variation of on the theme of the evil spirit being subdued by sleep. Judge for yourself which one most resembles a recumbent human. These stories and more are available from the Connecticut Digital Archive and the Digital Public Library of America, brought to you by the UConn Library.

Written by Greg Colati, Assistant University Librarian for University Archives, Special Collections & Digital Curation

Tracking History Through Primary Sources: The CTDA and the DPLA

Written by Greg Colati, Assistant University Librarian for University Archives, Special Collections & Digital Curation

Charter Oak, J.E. Burkhart. The Graphics Collection, The Connecticut Historical Society, Hartford. (1859) Retrieved from the Digital Public Library of America.

Charter Oak, J.E. Burkhart. The Graphics Collection, The Connecticut Historical Society, Hartford. (1859) Retrieved from the Digital Public Library of America.

Every Connecticut schoolkid learns the legend of the Charter Oak and understands why so many things in the state are named “Charter Oak….” What we don’t always realize is just how far the Charter Oak story has traveled out from Connecticut as the American population moved West from the original 13 colonies.

The continuing story of the Charter Oak was revealed recently when the Connecticut Digital Archive, a program of the UConn Library,  joined its 1.3 million digital resources about Connecticut history with the Digital Public Library of America’s 33 million images, texts, videos, and sounds from across the United States.

When we query the DPLA for “Charter Oak” we find not only the expected results from Connecticut, but some others that at first seem odd until we do some additional digging.

Charter Oak Stove & Range Company, Catalogue no. 9. Carnegie Library of Pittsburgh. (ca. 1909) Retrieved from the Digital Public Library of America

Charter Oak Stove & Range Company, Catalogue no. 9. Carnegie Library of Pittsburgh. (ca. 1909) Retrieved from the Digital Public Library of America

For example, take the catalog of the Charter Oak Stove Company of St. Louis Missouri . The Charter Oak stove was one of the most popular cooking stoves of the Victorian Era, it was manufactured by the Excelsior Stove company beginning in 1851. Giles Filley, founder of the company was born in Bloomfield, CT and named the stove after the Charter Oak to emphasize his support for the anti-slavery cause in border-state Missouri.

Charter Oak Dedication. Worthington Libraries. (1976-05-26) Retrieved from the Digital Public Library of America.

Charter Oak Dedication. Worthington Libraries. (1976-05-26) Retrieved from the Digital Public Library of America.

Planting oak trees as a symbol of liberty was brought along with the settlers from Granby, Connecticut who founded Worthington, Ohio in 1803. The tradition was still alive in the bicentennial year of 1976 when the Worthington Chapter of the DAR gave the Worthington High School an oak tree which was planted in soil from the site of the Charter Oak in Hartford.

Charter Oak, Iowa was founded by the American Emigrant Company of Hartford Connecticut in 1869. The Crawford County history website relates a story about the founding of Charter Oak, Iowa that has a ring of familiarity:  “Our town received its name from the American Emigrant Company which was organized at Hartford, Connecticut. The story is told that, during the time the territory was being surveyed by that company, a sudden heavy cloudburst made it imperative for the surveyor to protect his maps and papers. He bundled them up and thrust them into a hollow spot of a large oak tree.” The Charter Oak Bank of Charter Oak Iowa issued bonds with patriotic scenes, but oddly no image of the Charter Oak itself.

View of the community building at Charter Oak Park. California Digital Library. (1964-01-27) Retrieved from the Digital Public Library of America.

View of the community building at Charter Oak Park. California Digital Library. (1964-01-27) Retrieved from the Digital Public Library of America.

Finally, we arrive at the Pacific Ocean, to Charter Oak Park, in the Charter Oak neighborhood of Covina California, a suburb of Los Angeles. According to local legend, and in an unusual twist to the Charter Oak tale, “lore suggests the tree towered above the rural rancho landscape of the 1800s, and served as a marker where Mexican officials buried a purloined American flag, important documents and gold.” And although there is some controversy in Covina about which tree is the actual Charter Oak, the naming of the neighborhood after the Connecticut Charter Oak is undisputed.

This story and many, many, more can be found among the primary sources available in the Connecticut Digital Archive, and the Digital Public Library of America.

 

UConn Library Exposes Connecticut’s History through Digital Public Library of America

Rows of chicken coops on Horsebarn Hill, 1923. From the Jerauld A. Manter Collection, UConn. © University of Connecticut

Historical collections from over forty cultural heritage institutions across Connecticut are now available alongside more than 33 million images, text, videos, and sounds from across the United States through the Digital Public Library of America (DPLA).

The Connecticut Digital Archive (CTDA), a program of the UConn Library, serves up over 75,000 digital items relating to Connecticut history from state-wide heritage institutions including the Barnum Museum’s artifacts and ephemera and the Connecticut State Library’s collection of nineteenth century newspapers. You will also find UConn archival collections such as the International Military Tribunal at Nuremberg and the Hartford Medical Society Collection at UConn Health.

Professor Bob Asher’s car rolls into Duck Pond (now known as Swan Lake), 1972. From the UConn Photograph Collection. CC BY-NC

The UConn Library recently celebrated the 5th anniversary of the CTDA and our commitment to preserving not just UConn’s history, but Connecticut’s too. Today’s announcement furthers our work, putting us alongside giants such as DigitalVirginias and Digital Commonwealth.

“Being a Service Hub for the DPLA is a great way to connect the storied history of Connecticut with so many people, from the serious researcher, to history buffs, and everyone in between,” noted Anne Langley, Dean of the UConn Library. “It affords us the ability to expand access to the rich historical resources of UConn and across Connecticut.”

Bonded (slave) Child Labourer Carrying Clay
© Robin Romano / GlobalAware

What is just a mouse-click away when searching the CTDA? You can find glass negatives taken by brothers Clinton and Frank Hadsell capturing everyday life in the town of Avon at the turn of the twentieth century from the Avon Free Public Library. How about films from the collection of Hartford Black Panther Party co-founder, Butch Lewis, documenting community leaders during the Civil Rights Era from the Hartford History Center at the Hartford Public Library? For human rights researchers, the U. Roberto (Robin) Romano Papers housed in the UConn archives, documenting his ground-breaking work to raise awareness of children’s rights and child labor around the world are available.

We continue to work with institutions across Connecticut interested in the programs of the CT Digital Archive and are looking forward to the resources that will be added in the months and years to come. There are new materials to be discovered all the time so check it out today!

UConn Archives to House Maurice Sendak Artwork

Quote

Ken Best, UConn Communications
Re-posted from UConn Today

February 21, 2018

Cover of ‘Where the Wild Things Are,’ ©1963 by Maurice Sendak, copyright renewed 1991 by Maurice Sendak. Used with permission from HarperCollins Children’s Books.

The finished artwork for his published books, and certain manuscripts, sketches, and other related materials created by Maurice Sendak, considered the leading artist of children’s books in the 20th century, will be hosted and maintained at the University of Connecticut under an agreement approved today by UConn’s Board of Trustees.

The Maurice Sendak Foundation will continue to own the artwork and source materials for books such as Where the Wild Things Are, In the Night Kitchen and Outside Over There, which will serve as a resource for research by students, faculty, staff, scholars and the general public through the Department of Archives & Special Collections in the UConn Library. The housing of The Maurice Sendak Collection at UConn is being supported by a generous grant from The Maurice Sendak Foundation.

“You would only have to spend an afternoon with Maurice to know that he was the ultimate mentor and nurturer of talent,” says Lynn Caponera, president of The Maurice Sendak Foundation. “He profoundly admired UConn’s dedication to the art of the book, both in its collections and in its teachings. We, the friends who he entrusted to carry on his legacy through the Foundation, couldn’t be more pleased with this exciting collaboration.”

Archives & Special Collections includes the Northeast Children’s Literature Collection, which contains 120 archives of notable authors and illustrators of children’s literature native to or identified with the Northeast and East Coast of the United States. The collection, established in 1989, preserves every aspect of children’s book production – from the initial correspondence to preliminary drawings, finished art, dummies, mechanicals, proofs, galleys, and manuscripts.

Imagine now opening up students to the world of one of the most celebrated creators of visual literature for children’s picture books … and walking across campus to take part in what amounts to a private master class with Maurice Sendak.— Cora Lynn Deibler

Significant holdings in the Northeast Children’s Literature Collection include the archives of leading authors and illustrators who have won major honors such as the Caldecott Medal, Caldecott Honor, John Newbery Medal, and Laura Ingalls Wilder Award, among others. It also contains “The Billie M. Levy Collection of Maurice Sendak” of more than 800 monographs written and illustrated by Sendak, along with realia manufactured for children, such as promotional toys, games, animals, and other items that relate to Sendak’s stories and characters.

Renowned author and illustrator Maurice Sendak signs books at the UConn Coop bookstore on April 28, 1981. (Jo Lincoln Photo, courtesy of Archives & Special Collections, UConn Libraries)

“Maurice Sendak created books that will live forever. His work changed the course of children’s literature in the twentieth century,” says Katharine Capshaw, professor of English and president of the Children’s Literature Association. “From Where the Wild Things Are to the Nutshell Library [series] to We Are All in the Dumps with Jack and Guy,Sendak’s books connect profoundly to children’s inner fears and vast resourcefulness. He treated young people with respect, valuing their creativity and sense of ethics, and his work illuminated the joy and mystery of the imagination.”

Capshaw notes that The Maurice Sendak Collection will be an invaluable resource for UConn undergraduate students in English, Creative Writing, Art and Art History, the Neag School of Education, and Psychology, as well as our graduate students and visiting scholars.

“Given Sendak’s life as a Connecticut resident and his longstanding connection to the University of Connecticut, his work has found an apt home,” she adds. “They will enrich Connecticut students and the intellectual and aesthetic life of our community.”

Sendak lived in Connecticut and supported UConn for many years, speaking to the children’s literature classes of Francelia Butler, professor of English, in the 1970s and 1980s, and supporting the legacy of James Marshall, author of the “George and Martha” books. The James Marshall Fellowship at UConn is awarded biennially to a promising author and/or illustrator to assist with the creation of new children’s literature. In 1990, Sendak delivered a commencement address at UConn and received an honorary Doctor of Fine Arts.

Sendak’s children’s books have sold more than 30 million copies and have been translated into more than 40 languages. He received the 1964 Caldecott Medal for Where the Wild Things Are and is the creator of such classics as Higglety Pigglety Pop! and the Nutshell Library. He received the international Hans Christian Andersen Medal for Illustration in 1970, Laura Ingalls Wilder Award from the American Library Association in 1983, and a National Medal of Arts in recognition of his contribution to the arts in America in 1996. He also received the first Astrid Lindgren Memorial Award, an annual international prize for children’s literature established by the Swedish government in 2003.

After his death in 2012 at the age of 83, The New York Times said Sendak is “widely considered the most important children’s book artist of the 20th century, who wrenched the picture book out of the safe, sanitized world of the nursery and plunged it into the dark, terrifying, and hauntingly beautiful recesses of the human psyche … [His] books were essential ingredients of childhood for the generation born after 1960 or thereabouts, and in turn for their children.”

Maurice Sendak receives an honorary degree from then-President Harry Hartley during Convocation on Sept. 5, 1990. (Archives & Special Collections, UConn Libraries)

“The availability of Maurice Sendak’s work to students, faculty, and the community, as part of the Northeast Children’s Literature Collection, is an incredible gift and opportunity,” says Cora Lynn Deibler, head of the Department of Art and Art History and a professor of illustration.

She says that Archives & Special Collections allows unprecedented access to anything and everything in their holdings, and that faculty members take advantage specifically in Illustration and Animation because it provides “an important window into the working worlds of some of the most elite, accomplished visual storytellers of our time.

“Imagine now opening up students to the world of one of the most celebrated creators of visual literature for children’s picture books … and walking across campus to take part in what amounts to a private master class with Maurice Sendak. As you pore through the work, you will be receiving a one-on-one tutorial in excellence in the form – from creativity and concept, through design and execution. Sendak’s work housed here is such an incredible gift for us all. We could not be more fortunate.”

The Passing of Richard H. Schimmelpfeng

It would be difficult to find someone more dedicated to the UConn Library’s Archives & Special Collections than Richard Schimmelpfeng. Perhaps it is because of the solid foundation he built beginning with the Special Collections Department after his arrival in 1966. But more likely it is because of his dedication to the collections after his retirement in 1992. Mr. Schimmelpfeng began volunteering in the Archives the day after his retirement and was a daily staple until his recent illness a few months ago. In a March, 2005 article he stated “I intend to continue as a volunteer until either I fall over, am dragged out, or told to quit,” he quips. “I figure I’ve got about 15 more years to go.” We estimate that he worked more than 15,000 volunteer hours over 20+ years. As Norman D. Stevens, Emeritus Director of the UConn Library says in his obituary below, “his fifty years of service to the University of Connecticut is perhaps unsurpassed.”

Our sadness is beyond words. We will truly miss his knowledge and dedication, but mostly the smile he brought us every day.

Richard H. Schimmelpfeng
(7/13/1929-3/16/2017)

The son of Harold W. and Rose Schimmelpfeng, Richard was predeceased by his brother Harold W., Jr. and is survived by his niece, Margaret R. Lilly, and nephew, William J. Reynolds, and five grandnieces and nephews.

A graduate of the University of Illinois, with a triple major in English literature, history, and modern languages, and, in 1955, of Columbia University’s Graduate School of Library Science. He began his library career as a cataloger, rising to the head of the department, at Washington University in Saint Louis.

In 1966 he joined the staff of the University of Connecticut Libraries to protect and preserve the library’s rare and unusual books and manuscript collections. He had become head of a somewhat larger and more formal Special Collections Department by the time he retired in 1992. The day after his retirement he began working as a volunteer in what had become the Archives and Special Collections Department, where he served as its principal cataloger until early 2017. His fifty years of service to the University of Connecticut is perhaps unsurpassed.

During the course of his official appointment he oversaw an enormous growth of special and unusual archives, books, and other printed materials in a wide variety of fields. His own interest in collecting in many areas, led to the creation of a number of specialized collections including bookplates – he was an active member of the American Association of Book Plate Collectors and Designers – and the limited edition publications of major book designers.

He was especially adept at giving his employees, including students, support and encouragement. That led, for example, to the establishment of one of the country’s strongest collections of Alternative Press materials that continues to grow as it documents the growth and development of the counter-culture movement that began in the late 1960’s and early 1970s. It also resulted in the publication of a multi-volume annotated edition of the manuscript materials of the noted American poet Charles Olson.

He and his father shared an interest in collecting hand blown glass paperweights that Richard continued throughout his life. He was an active member of the New England Paperweight Association. Shortly before his death a few recent purchases joined The Schimmelpfeng Collection of Contemporary Glass Paperweight at the New Bedford Museum of Glass. His love of the visual arts extended to illustrated children’s books and he was an active participant of the American Book Collectors of Children’s Books (ABCs). He delighted in dressing up for a number of years as Clifford the Big Red Dog to entertain children and their parents at the annual Connecticut Children’s Book Fair at UConn.

For many years he used his specialized knowledge of books to assist the Mansfield Public Library in identifying and pricing items donated to their regular book sales. He was himself an avid reader who especially enjoyed detective stories.

He was also the Librarian and a member of the Executive Council of the Mansfield Historical Society from 1992 through 2016. He had begun his service to the MHS in 1982 when he indexed their scrapbook collection.

Richard’s love of the visual arts and music contributed to his enjoyment of concerts and programs at UConn and his active support of those programs including the donation of visual materials to the Benton Museum of Art.

In the fall of 2017 the Homer Babbidge Library at UConn will host an exhibit Glass Animals presented by the New Bedford Museum of Glass that will include a significant number of important pieces for which he had provided the funding. During that exhibit there will be a program to honor Richard and recognize his generous support of the University and the Mansfield community.

Colleagues and friends may post a note on the guest book for his obituary at www.potterfuneralhome.com, or may wish to share with one another their reminisces of Richard through e-mails, cards, phone calls as well as small gatherings and/or postings on social media.

Norman D. Stevens
March 12, 2017

 

Papers and Media Archive of Filmmaker and Human Rights Advocate U. Roberto Romano Given to UConn’s Archives & Special Collections

The late U. Roberto (Robin) Romano was an accomplished photographer, award-winning filmmaker and human rights advocate who unflinchingly focused his eye and lens on children around the world capturing the violation of their rights.

Since 2009, Romano had made a limited number of his images available to researchers through the UConn Libraries’ Archives & Special Collections. Now, two years after his death, his total body of work, including video tape masters and digital video files, hundreds of interviews, thousands of digital photos and prints, plus his research files have been given to UConn and will now be available to those who examine human rights issues.

More than 100 of Romano’s images of child labor originally exhibited at the UConn’s William Benton Museum of Fine Art in 2006 are available online from the University Archives and Special Collections (http://hdl.handle.net/11134/20002:20110094). These are the first of the more than 130,000 still images that will be available online for research and educational use once the collection is processed. The Archives & Special Collections plans to digitize the entire collection of analog still images, negatives, and research files creating an unprecedented online resource relating to documentary journalism, child labor and human rights, and other social issues that Romano documented in his lifetime.

The gift was made by the independent producer/director Len Morris, Romano’s friend of more than 30 years, with whom he collaborated on a trilogy of films focusing on children’s human rights, Stolen Childhoods (2005), Rescuing Emmanuel (2009) and the just completed, The Same Heart, in which Romano was the Director of Photography.

Len Morris, left, and Robin Romano filming at a school in Brazil.

Len Morris, left, and Robin Romano filming at a school in Brazil.

“This gift makes us stewards of Robin’s legacy and dream,” said Martha Bedard, vice provost of the UConn Libraries. “We are honored to make his work available to faculty and students studying human rights in Storrs, and to draw attention to the issues he championed to those around the world.”

In physical terms, Romano’s body of work showcases his mastery of his medium, his ability to capture children in poignant, often heart wrenching conditions, and the methodology behind his award-winning work, Morris asserts.

“More importantly, as the result of his life’s work 80 million fewer children are working in child labor, 40 million children who were forced to work like animals are now in schools and international laws have been passed to protect children,” Morris says. “In short, Robin’s images changed minds, hearts, and the fueled the debate.”

The son of the artist and Works Progress Administration (WPA) muralist Umberto Romano, Robin began his career in documentaries as a producer and cameraman for Les Productions de Sagittaire in Montreal, where he worked on several series including 5 Defis and L’Oeil de L’Aigle.

Among the organizations that have used his work are GoodWeave, the Global March Against Child Labour, Human Rights Watch, Amnesty International, Free the Slaves, the International Labor Organization, Stop the Traffik, the Hunger Project, International Labor Rights Forum, the Farm Labor Organizing Committee and Antislavery International. Organizations who sponsored or funded Romano’s work will have the ability to use the images he created for them to continue their work and advocacy.

Romano’s documentaries have been widely recognized. The film The Harvest/La Cosecha received a Special Achievement Award, from American Latino Media Arts/ National Council of La Raza) in 2011, an honor he treasured, coming from the entire Latino community.

1433FN09 ©ROMANO 10-Year-Old Child Laborer at a Gravel Quarry Orissa, India A young girl carries a basket filled with 40 pounds of rock on her head. During the course of a day she will carry over a ton of rock in 100 degree plus weather. Exposure to the rock dust from the grinder causes silicosis of the lungs and inevitably leads to respitory illness and sometimes death.

1433FN09
©ROMANO
10-Year-Old Child Laborer at a Gravel Quarry
Orissa, India
A young girl carries a basket filled with 40 pounds of rock on her head. During the course of a day she will carry over a ton of rock in 100 degree plus weather. Exposure to the rock dust from the grinder causes silicosis of the lungs and inevitably leads to respitory illness and sometimes death.

Robin Romano in Ghana.

Robin Romano in Ghana.