{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026view=compact","prev":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=8\u0026view=compact","next":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=10\u0026view=compact","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=566\u0026view=compact"},"meta":{"pages":{"current_page":9,"next_page":10,"prev_page":8,"total_pages":566,"limit_value":10,"offset_value":80,"total_count":5651,"first_page?":false,"last_page?":false}},"data":[{"id":"vifgm_restonblackfocus_c04_c01","type":"File","attributes":{"title":"Agreements,","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_restonblackfocus_c04_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_restonblackfocus_c04_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_restonblackfocus_c04_c01","ref_ssm":["vifgm_restonblackfocus_c04_c01"],"id":"vifgm_restonblackfocus_c04_c01","ead_ssi":"vifgm_restonblackfocus","_root_":"vifgm_restonblackfocus","_nest_parent_":"vifgm_restonblackfocus_c04","parent_ssi":"vifgm_restonblackfocus_c04","parent_ssim":["vifgm_restonblackfocus","vifgm_restonblackfocus_c04"],"parent_ids_ssim":["vifgm_restonblackfocus","vifgm_restonblackfocus_c04"],"parent_unittitles_ssm":["Reston Black Focus records","Series 4: Finance,"],"parent_unittitles_tesim":["Reston Black Focus records","Series 4: Finance,"],"text":["Reston Black Focus records","Series 4: Finance,","Agreements,","Box 3","Folder 18",""],"title_filing_ssi":"Agreements,","title_ssm":["Agreements,"],"title_tesim":["Agreements,"],"unitdate_other_ssim":["1972"],"normalized_date_ssm":["1972"],"normalized_title_ssm":["Agreements,"],"component_level_isim":[2],"repository_ssim":["George Mason University"],"collection_ssim":["Reston Black Focus records"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":197,"digital_objects_ssm":["{\"label\":\"Agreements\",\"href\":\"http://hdl.handle.net/1920/9438\"}"],"date_range_isim":[1972],"containers_ssim":["Box 3","Folder 18"],"scopecontent_html_tesm":["\u003cp/\u003e"],"scopecontent_tesim":[""],"_nest_path_":"/components#3/components#0","timestamp":"2026-05-01T00:58:49.461Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_restonblackfocus","ead_ssi":"vifgm_restonblackfocus","_root_":"vifgm_restonblackfocus","_nest_parent_":"vifgm_restonblackfocus","ead_source_url_ssi":"data/gmu/restonblackfocus.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/restonblackfocus.html","title_ssm":["Reston Black Focus records\n"],"title_tesim":["Reston Black Focus records\n"],"unitdate_ssm":["1960-2005\n"],"unitdate_inclusive_ssm":["1960-2005\n"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0137\n"],"text":["C0137\n","Reston Black Focus records","African Americans--Virginia--Reston.","Housing--Virginia--Reston.","Planned communities--Virginia--Reston.","The entire collection is digtized and availalbe through the Reston Black Focus collection \n                 .","Organized into eight series.\n","Series 1: Correspondence, 1967-2005 (Box 1-2)\n Series 2: By-Laws, 1968-1974 (Box 2)\n Series 3: Committee, 1969-1975 (Box 2-3)\n Series 4: Finance, 1970-1975 (Box 3)\n Series 5: Publications, 1965-2000 (Box 3-4)\n Series 6: Newsclippings, 1960-2005 (Box 4-5)\n Series 7: Reston Homeowners Association (RHOA), 1960-1972 (Box 5)\n Series 8: General Information, 1960-2005 (Box 5-6)\n","Reston is a planned community in Northern Virginia.  Robert E. Simon, Jr., the founder of Reston, purchased the land with the proceeds from the sale of Carnegie Hall in New York City in 1961.   Construction began in 1963 with the building of Lake Anne.  During the late 1960s and early 1970s, the Reston Black Focus was established.  The Reston Black Focus was created to encourage black citizens to participate more in Reston and to promote black culture and lifestyles.\n","The Special Collections and Archives also holds the Planned Community Archives and other personal papers and organizational records that document Reston, Virginia, and other planned communities.\n","The collection consists of papers from the Reston Black Focus, such as correspondence, advertisements, financial information and general information.  Also included in the collection is a series on the Reston Homeowners Association (RHOA) with papers and other information from the Association.\n","Series one is titled correspondence.  The series has correspondence to and from the Reston Black Focus.  The correspondence is from a variety of people such as Beverley Sharp, Edward Sharp and others.  Also included in the collection are emails dated later than most of the series.  The series contained in boxes 1 through 2 and is dated from 1967 to 2005.\n","Series two is titled By-laws.  The series is a collection of various By-laws from the Reston Black Focus.  The By-laws are in draft and final form.  Also included are Environmental Management Committee Charter, Fairfax County-Wide Black Citizens Association (BCA) and other committees.  The series is contained in box 2 only and is dated from 1968 to 1974.\n","Series three is titled committee.  The series contains paperwork from different committees.  Included are reports, Board of Directors meeting, election results, meeting minutes and other papers from committees.  The series is contained in boxes 2 through 3 and is dated from 1969 to 1975.\n","Series four is titled finance.  The series has information relating to the finances of the Reston Black Focus.  The papers include calculations, financial reports, budgets and other financial documents.  The series is contained in box 3 only and is dated from 1970 to 1975.\n","Series five is titled publications.  This contains mostly booklets, brochures and other information from Reston and the Reston Black Focus.  Some of the information includes The Reston Philosophers, Directory and United Virginia Bank.  The series is contained in boxes 3 through 4 and is dated 1965 to 2000.\n","Series six is titled newsclippings.  The newsclippings are articles written about Reston and the Reston Black Focus.  Included are articles from the Reston Times and the Washington Post.  The series is contained in boxes 4 through 5 and is dated from 1960 to 2005.\n","Series seven is titled Reston Homeowners Association (RHOA).  The series contains general information on the Reston Homeowners Association such as deed of dedications, meetings, election results and others.  The series is contained in box 5 only and is dated from 1960 to 1972.\n","Series eight is titled General Information.  This series contains a variety of papers relating to Reston Black Focus.  Included are maps, biographies, schedule of events and general notes.  The series is contained in boxes 5 through 6 and is dated from 1960 to 2005.\n","The collection consists of papers from the Reston Black Focus, such as correspondence, advertisements, financial information and general information.  Also included in the collection is a series on the Reston Homeowners Association (RHOA) with papers and other information from the Association.\n","George Mason University.  Special Collections and Archives.\n","Reston Association.","Reston Black Focus.","Edward G. Sharp\n","English\n"],"unitid_tesim":["C0137\n"],"normalized_title_ssm":["Reston Black Focus records"],"collection_title_tesim":["Reston Black Focus records"],"collection_ssim":["Reston Black Focus records"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Edward G. Sharp\n"],"creator_ssim":["Edward G. Sharp\n"],"creator_persname_ssim":["Edward G. Sharp\n"],"creators_ssim":["Edward G. Sharp\n"],"acqinfo_ssim":["Donated by Edward G. Sharp on December 16, 2008.\n"],"access_subjects_ssim":["African Americans--Virginia--Reston.","Housing--Virginia--Reston.","Planned communities--Virginia--Reston."],"access_subjects_ssm":["African Americans--Virginia--Reston.","Housing--Virginia--Reston.","Planned communities--Virginia--Reston."],"has_online_content_ssim":["true"],"extent_ssm":["2.75 linear feet (6 boxes)"],"extent_tesim":["2.75 linear feet (6 boxes)"],"date_range_isim":[1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005],"altformavail_html_tesm":["\u003cp\u003eThe entire collection is digtized and availalbe through the Reston Black Focus collection \n                \u003cextptr type=\"simple\" show=\"new\" title=\"Reston Black Focus collection\" href=\"http://digilib.gmu.edu/handle/1920/9244\"\u003e\u003c/extptr\u003e.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The entire collection is digtized and availalbe through the Reston Black Focus collection \n                 ."],"arrangement_html_tesm":["\u003cp\u003eOrganized into eight series.\n\u003c/p\u003e","\u003clist\u003e\n        \u003citem\u003eSeries 1: Correspondence, 1967-2005 (Box 1-2)\n\u003c/item\u003e\n        \u003citem\u003eSeries 2: By-Laws, 1968-1974 (Box 2)\n\u003c/item\u003e\n        \u003citem\u003eSeries 3: Committee, 1969-1975 (Box 2-3)\n\u003c/item\u003e\n        \u003citem\u003eSeries 4: Finance, 1970-1975 (Box 3)\n\u003c/item\u003e\n        \u003citem\u003eSeries 5: Publications, 1965-2000 (Box 3-4)\n\u003c/item\u003e\n        \u003citem\u003eSeries 6: Newsclippings, 1960-2005 (Box 4-5)\n\u003c/item\u003e\n        \u003citem\u003eSeries 7: Reston Homeowners Association (RHOA), 1960-1972 (Box 5)\n\u003c/item\u003e\n        \u003citem\u003eSeries 8: General Information, 1960-2005 (Box 5-6)\n\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["Organized into eight series.\n","Series 1: Correspondence, 1967-2005 (Box 1-2)\n Series 2: By-Laws, 1968-1974 (Box 2)\n Series 3: Committee, 1969-1975 (Box 2-3)\n Series 4: Finance, 1970-1975 (Box 3)\n Series 5: Publications, 1965-2000 (Box 3-4)\n Series 6: Newsclippings, 1960-2005 (Box 4-5)\n Series 7: Reston Homeowners Association (RHOA), 1960-1972 (Box 5)\n Series 8: General Information, 1960-2005 (Box 5-6)\n"],"bioghist_html_tesm":["\u003cp\u003eReston is a planned community in Northern Virginia.  Robert E. Simon, Jr., the founder of Reston, purchased the land with the proceeds from the sale of Carnegie Hall in New York City in 1961.   Construction began in 1963 with the building of Lake Anne.  During the late 1960s and early 1970s, the Reston Black Focus was established.  The Reston Black Focus was created to encourage black citizens to participate more in Reston and to promote black culture and lifestyles.\n\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["Reston is a planned community in Northern Virginia.  Robert E. Simon, Jr., the founder of Reston, purchased the land with the proceeds from the sale of Carnegie Hall in New York City in 1961.   Construction began in 1963 with the building of Lake Anne.  During the late 1960s and early 1970s, the Reston Black Focus was established.  The Reston Black Focus was created to encourage black citizens to participate more in Reston and to promote black culture and lifestyles.\n"],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections and Archives also holds the Planned Community Archives and other personal papers and organizational records that document Reston, Virginia, and other planned communities.\n\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material\n"],"relatedmaterial_tesim":["The Special Collections and Archives also holds the Planned Community Archives and other personal papers and organizational records that document Reston, Virginia, and other planned communities.\n"],"scopecontent_html_tesm":["\u003cp\u003eThe collection consists of papers from the Reston Black Focus, such as correspondence, advertisements, financial information and general information.  Also included in the collection is a series on the Reston Homeowners Association (RHOA) with papers and other information from the Association.\n\u003c/p\u003e","\u003cp\u003eSeries one is titled correspondence.  The series has correspondence to and from the Reston Black Focus.  The correspondence is from a variety of people such as Beverley Sharp, Edward Sharp and others.  Also included in the collection are emails dated later than most of the series.  The series contained in boxes 1 through 2 and is dated from 1967 to 2005.\n\u003c/p\u003e","\u003cp\u003eSeries two is titled By-laws.  The series is a collection of various By-laws from the Reston Black Focus.  The By-laws are in draft and final form.  Also included are Environmental Management Committee Charter, Fairfax County-Wide Black Citizens Association (BCA) and other committees.  The series is contained in box 2 only and is dated from 1968 to 1974.\n\u003c/p\u003e","\u003cp\u003eSeries three is titled committee.  The series contains paperwork from different committees.  Included are reports, Board of Directors meeting, election results, meeting minutes and other papers from committees.  The series is contained in boxes 2 through 3 and is dated from 1969 to 1975.\n\u003c/p\u003e","\u003cp\u003eSeries four is titled finance.  The series has information relating to the finances of the Reston Black Focus.  The papers include calculations, financial reports, budgets and other financial documents.  The series is contained in box 3 only and is dated from 1970 to 1975.\n\u003c/p\u003e","\u003cp\u003eSeries five is titled publications.  This contains mostly booklets, brochures and other information from Reston and the Reston Black Focus.  Some of the information includes The Reston Philosophers, Directory and United Virginia Bank.  The series is contained in boxes 3 through 4 and is dated 1965 to 2000.\n\u003c/p\u003e","\u003cp\u003eSeries six is titled newsclippings.  The newsclippings are articles written about Reston and the Reston Black Focus.  Included are articles from the Reston Times and the Washington Post.  The series is contained in boxes 4 through 5 and is dated from 1960 to 2005.\n\u003c/p\u003e","\u003cp\u003eSeries seven is titled Reston Homeowners Association (RHOA).  The series contains general information on the Reston Homeowners Association such as deed of dedications, meetings, election results and others.  The series is contained in box 5 only and is dated from 1960 to 1972.\n\u003c/p\u003e","\u003cp\u003eSeries eight is titled General Information.  This series contains a variety of papers relating to Reston Black Focus.  Included are maps, biographies, schedule of events and general notes.  The series is contained in boxes 5 through 6 and is dated from 1960 to 2005.\n\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["The collection consists of papers from the Reston Black Focus, such as correspondence, advertisements, financial information and general information.  Also included in the collection is a series on the Reston Homeowners Association (RHOA) with papers and other information from the Association.\n","Series one is titled correspondence.  The series has correspondence to and from the Reston Black Focus.  The correspondence is from a variety of people such as Beverley Sharp, Edward Sharp and others.  Also included in the collection are emails dated later than most of the series.  The series contained in boxes 1 through 2 and is dated from 1967 to 2005.\n","Series two is titled By-laws.  The series is a collection of various By-laws from the Reston Black Focus.  The By-laws are in draft and final form.  Also included are Environmental Management Committee Charter, Fairfax County-Wide Black Citizens Association (BCA) and other committees.  The series is contained in box 2 only and is dated from 1968 to 1974.\n","Series three is titled committee.  The series contains paperwork from different committees.  Included are reports, Board of Directors meeting, election results, meeting minutes and other papers from committees.  The series is contained in boxes 2 through 3 and is dated from 1969 to 1975.\n","Series four is titled finance.  The series has information relating to the finances of the Reston Black Focus.  The papers include calculations, financial reports, budgets and other financial documents.  The series is contained in box 3 only and is dated from 1970 to 1975.\n","Series five is titled publications.  This contains mostly booklets, brochures and other information from Reston and the Reston Black Focus.  Some of the information includes The Reston Philosophers, Directory and United Virginia Bank.  The series is contained in boxes 3 through 4 and is dated 1965 to 2000.\n","Series six is titled newsclippings.  The newsclippings are articles written about Reston and the Reston Black Focus.  Included are articles from the Reston Times and the Washington Post.  The series is contained in boxes 4 through 5 and is dated from 1960 to 2005.\n","Series seven is titled Reston Homeowners Association (RHOA).  The series contains general information on the Reston Homeowners Association such as deed of dedications, meetings, election results and others.  The series is contained in box 5 only and is dated from 1960 to 1972.\n","Series eight is titled General Information.  This series contains a variety of papers relating to Reston Black Focus.  Included are maps, biographies, schedule of events and general notes.  The series is contained in boxes 5 through 6 and is dated from 1960 to 2005.\n"],"abstract_html_tesm":["\u003cabstract label=\"Abstract\"\u003eThe collection consists of papers from the Reston Black Focus, such as correspondence, advertisements, financial information and general information.  Also included in the collection is a series on the Reston Homeowners Association (RHOA) with papers and other information from the Association.\n\u003c/abstract\u003e"],"abstract_tesim":["The collection consists of papers from the Reston Black Focus, such as correspondence, advertisements, financial information and general information.  Also included in the collection is a series on the Reston Homeowners Association (RHOA) with papers and other information from the Association.\n"],"names_ssim":["George Mason University.  Special Collections and Archives.\n","Reston Association.","Reston Black Focus.","Edward G. Sharp\n"],"corpname_ssim":["George Mason University.  Special Collections and Archives.\n","Reston Association.","Reston Black Focus."],"persname_ssim":["Edward G. Sharp\n"],"language_ssim":["English\n"],"total_component_count_is":369,"online_item_count_is":361,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:58:49.461Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_restonblackfocus_c04_c01"}},{"id":"vi_vi00486_c02_c01_c61","type":"File","attributes":{"title":"Agreements, contracts,  1912, 1917, undated","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vi_vi00486_c02_c01_c61#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vi_vi00486_c02_c01_c61","ref_ssm":["vi_vi00486_c02_c01_c61"],"id":"vi_vi00486_c02_c01_c61","ead_ssi":"vi_vi00486","_root_":"vi_vi00486","_nest_parent_":"vi_vi00486_c02_c01","parent_ssi":"vi_vi00486_c02_c01","parent_ssim":["vi_vi00486","vi_vi00486_c02","vi_vi00486_c02_c01"],"parent_ids_ssim":["vi_vi00486","vi_vi00486_c02","vi_vi00486_c02_c01"],"parent_unittitles_ssm":["Equal Suffrage League of Virginia records, \n 1908-1938","Series II:  Equal Suffrage League of Virginia .","State League records."],"parent_unittitles_tesim":["Equal Suffrage League of Virginia records, \n 1908-1938","Series II:  Equal Suffrage League of Virginia .","State League records."],"text":["Equal Suffrage League of Virginia records, \n 1908-1938","Series II:  Equal Suffrage League of Virginia .","State League records.","Agreements, contracts,  1912, 1917, undated","box 7","folder 12"],"title_filing_ssi":"Agreements, contracts,  1912, 1917, undated","title_ssm":["Agreements, contracts,  1912, 1917, undated"],"title_tesim":["Agreements, contracts,  1912, 1917, undated"],"normalized_title_ssm":["Agreements, contracts,  1912, 1917, undated"],"component_level_isim":[3],"repository_ssim":["Library of Virginia"],"collection_ssim":["Equal Suffrage League of Virginia records, \n 1908-1938"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":149,"digital_objects_ssm":["{\"label\":\"Click for digital images\",\"href\":\"https://rosetta.virginiamemory.com/delivery/DeliveryManagerServlet?dps_pid=IE3479497\"}"],"containers_ssim":["box 7","folder 12"],"_nest_path_":"/components#1/components#0/components#60","timestamp":"2026-05-01T01:11:33.938Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vi_vi00486","ead_ssi":"vi_vi00486","_root_":"vi_vi00486","_nest_parent_":"vi_vi00486","ead_source_url_ssi":"data/lva/vi00486.xml","title_ssm":["Equal Suffrage League of Virginia records, \n 1908-1938\n"],"title_tesim":["Equal Suffrage League of Virginia records, \n 1908-1938\n"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["22002\n"],"text":["22002\n","Equal Suffrage League of Virginia records, \n 1908-1938","This collection is arranged into the following series:","I: Correspondence, 1909-1933 II: Equal Suffrage League of Virginia records III: National American Woman Suffrage Association (NAWSA) IV:  League of Women Voters of Virginia V:  National League of Women Voters VI: General and Miscellaneous files VII: Ephemera","The Equal Suffrage League of Virginia was organized in 1909 in Richmond, Virginia. Its primary purpose was to publicize and propagandize women's issues in the state, with the goal to win the political vote. Virginia was one of the six states which did not ratify the amendment. The final board meeting of the Equal Suffrage League was on November 8, 1920, and it became the League of Women Voters on November 10, 1920.\n","Papers, 1908-1938, of the Equal Suffrage League of Virginia, including correspondence, organization records for both the Equal Suffrage League and the League of Women Voters, printed materials, \"Votes for Women\" buttons, and postcards.\n","English\n"],"unitid_tesim":["22002\n"],"normalized_title_ssm":["Equal Suffrage League of Virginia records, \n 1908-1938"],"collection_title_tesim":["Equal Suffrage League of Virginia records, \n 1908-1938"],"collection_ssim":["Equal Suffrage League of Virginia records, \n 1908-1938"],"repository_ssm":["Library of Virginia"],"repository_ssim":["Library of Virginia"],"creator_ssm":["Equal Suffrage League of Virginia\n"],"creator_ssim":["Equal Suffrage League of Virginia\n"],"acqinfo_ssim":["Gift of Ida Mae Thompson, Richmond, Virginia.\n"],"has_online_content_ssim":["true"],"extent_ssm":["13.5 cu. ft. (31 boxes)"],"extent_tesim":["13.5 cu. ft. (31 boxes)"],"arrangement_html_tesm":["\u003cp\u003eThis collection is arranged into the following series:\u003c/p\u003e","\u003clist type=\"simple\"\u003e\n\u003citem\u003eI: Correspondence, 1909-1933\u003c/item\u003e\n\u003citem\u003eII: Equal Suffrage League of Virginia records\u003c/item\u003e\n\u003citem\u003eIII: National American Woman Suffrage Association (NAWSA)\u003c/item\u003e\n\u003citem\u003eIV:  League of Women Voters of Virginia\u003c/item\u003e\n\u003citem\u003eV:  National League of Women Voters\u003c/item\u003e\n\u003citem\u003eVI: General and Miscellaneous files\u003c/item\u003e\n\u003citem\u003eVII: Ephemera\u003c/item\u003e\n\u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement\n"],"arrangement_tesim":["This collection is arranged into the following series:","I: Correspondence, 1909-1933 II: Equal Suffrage League of Virginia records III: National American Woman Suffrage Association (NAWSA) IV:  League of Women Voters of Virginia V:  National League of Women Voters VI: General and Miscellaneous files VII: Ephemera"],"bioghist_html_tesm":["\u003cp\u003eThe Equal Suffrage League of Virginia was organized in 1909 in Richmond, Virginia. Its primary purpose was to publicize and propagandize women's issues in the state, with the goal to win the political vote. Virginia was one of the six states which did not ratify the amendment. The final board meeting of the Equal Suffrage League was on November 8, 1920, and it became the League of Women Voters on November 10, 1920.\n\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Information\n"],"bioghist_tesim":["The Equal Suffrage League of Virginia was organized in 1909 in Richmond, Virginia. Its primary purpose was to publicize and propagandize women's issues in the state, with the goal to win the political vote. Virginia was one of the six states which did not ratify the amendment. The final board meeting of the Equal Suffrage League was on November 8, 1920, and it became the League of Women Voters on November 10, 1920.\n"],"scopecontent_html_tesm":["\u003cp\u003ePapers, 1908-1938, of the Equal Suffrage League of Virginia, including correspondence, organization records for both the Equal Suffrage League and the League of Women Voters, printed materials, \"Votes for Women\" buttons, and postcards.\n\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content\n"],"scopecontent_tesim":["Papers, 1908-1938, of the Equal Suffrage League of Virginia, including correspondence, organization records for both the Equal Suffrage League and the League of Women Voters, printed materials, \"Votes for Women\" buttons, and postcards.\n"],"language_ssim":["English\n"],"total_component_count_is":857,"online_item_count_is":432,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T01:11:33.938Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vi_vi00486_c02_c01_c61"}},{"id":"vifgm_nicoson_c07_c20_c01","type":"Item","attributes":{"title":"A historic vote against war,","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_nicoson_c07_c20_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_nicoson_c07_c20_c01","ref_ssm":["vifgm_nicoson_c07_c20_c01"],"id":"vifgm_nicoson_c07_c20_c01","ead_ssi":"vifgm_nicoson","_root_":"vifgm_nicoson","_nest_parent_":"vifgm_nicoson_c07_c20","parent_ssi":"vifgm_nicoson_c07_c20","parent_ssim":["vifgm_nicoson","vifgm_nicoson_c07","vifgm_nicoson_c07_c20"],"parent_ids_ssim":["vifgm_nicoson","vifgm_nicoson_c07","vifgm_nicoson_c07_c20"],"parent_unittitles_ssm":["William Nicoson papers","Series 7: Newspaper Columns","Columns,"],"parent_unittitles_tesim":["William Nicoson papers","Series 7: Newspaper Columns","Columns,"],"text":["William Nicoson papers","Series 7: Newspaper Columns","Columns,","A historic vote against war,"],"title_filing_ssi":"A historic vote against war,","title_ssm":["A historic vote against war,"],"title_tesim":["A historic vote against war,"],"unitdate_other_ssim":["May 1, 1999"],"normalized_date_ssm":["1999"],"normalized_title_ssm":["A historic vote against war,"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["William Nicoson papers"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":622,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the William Nicoson papers must be obtained from Special Collections Research Center, George Mason University Libraries.\n\n"],"digital_objects_ssm":["{\"label\":\"A historic vote against war,\",\"href\":\"http://hdl.handle.net/1920/73\"}"],"date_range_isim":[1999],"_nest_path_":"/components#6/components#19/components#0","timestamp":"2026-05-01T00:47:27.786Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_nicoson","ead_ssi":"vifgm_nicoson","_root_":"vifgm_nicoson","_nest_parent_":"vifgm_nicoson","ead_source_url_ssi":"data/gmu/nicoson.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/nicoson.html","title_ssm":["William Nicoson papers"],"title_tesim":["William Nicoson papers"],"unitdate_ssm":["1954-2007"],"unitdate_other_ssim":["1954-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0164"],"text":["C0164","William Nicoson papers","Housing--Virginia--Reston.","Planned communities--Virginia--Reston.","There are no access restrictions.","Organized into six series.","Series 1: Correspondence, 1965-1980 (Boxes 1-3) Series 2: Reston, 1960-1985 (Boxes 3-5) Series 3: Federal, 1960-1980 (Boxes 5-8) Series 4: International, 1957-1979 (Boxes 8-12) Series 5: Newsclippings, 1960-1985 (Boxes 12-14) Series 6: General Information, 1954-1999 (Boxes 14-20) Series 7: Newspaper Columns, 1982-2007 (Boxes 21-25)","William Jarvie Nicoson (1932-2013) was born in Pittsburgh, Pennsylvania to Marion Jarvie and William McGarvey Nicoson. He attended Phillips Exeter Academy, Princeton University, and Harvard Law School. He spent his Junior Year of college at the Sorbonne in Paris, where he studied acting with the Director of the Comedie Francais.  At Princeton, he was a member of the Army ROTC.  He served as an officer in the U.S. Army in Germany for two years.","Nicoson's career began at the law firm of Sullivan \u0026 Cromwell. He worked in New York City and Paris practicing law before moving to Washington, D.C. in the 1960s.","In 1965 the Department of Housing and Urban Development (HUD) was created as an executive cabinet-level agency. HUD's mission is to help promote affordable home ownership and community development. William Nicoson was the first Director of the New Community Assistance Program at HUD. The primary goal of this office was to help foster cooperation among all levels of government and private business, both non-profit and profit. He resigned from this position in 1972.","When he moved to Washington, D.C., from New York City, he moved to the then-new community of Reston, Virginia. Robert E. Simon, Jr. was the founder of Reston. Simon purchased the land with the proceeds from the sale of Carnegie Hall in New York City in 1961. Construction began in 1963 with the building of Lake Anne. Nicoson and Simon shared many interests in planned communities and taught a course together in New Community Planning at the New School in New York City.","Nicoson was very active in Reston community organizations and served on a number of boards and committees. He was one of the founders of the Reston Connection newspaper and he served as publisher and writer of a weekly column for five years. He also wrote a monthly column for the Reston Times. In 2002 he was given the \"Best of Reston\" award for his civic participation. \n","The William Nicoson Papers were originally attached to the larger Planned Community Archives collection currently in the Special Collections and Archives. In 2009 the documents were removed and organized into a separate collection still housed in the Special Collections and Archives at George Mason University Libraries. The old box and folder numbers are also included as part of the new arrangement.","Processed in May 2009 by Emily Martin. Series 7 added in July 2013 by Greta Kuriger Suiter.","The Special Collections and Archives also holds the Planned Community Archives and other personal papers and organizational records that document Reston, Virginia, and other planned communities.","The William Nicoson papers contain material on Reston redevelopment, mostly promotional. The collection includes maps, charts, publications, slides, and newsclippings. The collection also includes information on federal housing agencies and documentation on new towns in the United States, France, Sweden, and the United Kingdom.","Series one is titled Correspondence. The series contains different correspondence to and from William Nicoson. The correspondence covers a variety of topics such as the Interstate Land Development Company, Low-Income Households in New Towns, Chapel Hill Study and William Nicoson's personal correspondence. The series is dated from 1965 to 1980 and is contained in boxes 1 through 3.","Series two is titled Reston. The series includes information about the development on Reston, including the Reston Town Center, Lake Anne Elementary School and newsclippings from newspaper in Reston and outside of the area. The series is dated from 1960 to 1985 and is contained in boxes 3 through 5.","Series three is titled Federal. The information in this series is from federal programs and agencies including Congress about the development of new towns. The material covers a variety of topics such as U.S. Government Memorandum on Tax Reform Act from 1969, U.S. Senate Report on New Towns and Housing and Urban Development (HUD). The series is dated from 1960 to 1980 and is contained in boxes 5 through 8.","Series four is titled International. The series covers a variety of international new towns from France, Sweden, the United Kingdom and others, mostly European nations. Most of the information is brochures, maps and statistics from the international new towns. The series is dated from 1957 to 1979 and is contained in boxes 8 through 12.","Series five is titled Newsclippings. The articles in this collection are mostly from newspapers about different new towns both nationally and internationally. Also in the series are articles written by different people involved in new town development. The series is dated from 1960 to 1985 and is contained in boxes 12 through 14.","Series six is titled General Information. The information in this series covers a variety of topics such as Richmond Metropolitan Authority, Town and Country Planning Association and New Communities Development Handbook. Also included are booklets, advertisements, slides and maps. The series is dated from 1954 to 1999 and is contained in boxes 14 through 20.","Series seven is titled Newspaper Columns. This series consists of paper and digital files containing original drafts and research materials for newspaper columns written by William Nicoson that were originally published in the Reston Connection during the late 1990s and early 2000s. The series contains materials dating from 1982 to 2007 and comprises box 21 through 25.","There are no restrictions on personal use. Permission to publish material from the William Nicoson papers must be obtained from Special Collections Research Center, George Mason University Libraries.\n\n","The William Nicoson papers contain material on Reston redevelopment, mostly promotional. The collection includes maps, charts, publications, slides, and newsclippings. The collection also includes information on federal housing agencies and documentation on new towns in the United States, France, Sweden, and the United Kingdom.","George Mason University. Libraries. Special Collections \u0026 Archives","United States. Dept. of Housing and Urban Development.","United States. Office of New Community Development Corporation.","Nicoson, William","Nicoson, William.","English"],"unitid_tesim":["C0164"],"normalized_title_ssm":["William Nicoson papers"],"collection_title_tesim":["William Nicoson papers"],"collection_ssim":["William Nicoson papers"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Nicoson, William"],"creator_ssim":["Nicoson, William"],"creator_persname_ssim":["Nicoson, William"],"creators_ssim":["Nicoson, William"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the William Nicoson papers must be obtained from Special Collections Research Center, George Mason University Libraries.\n\n"],"acqinfo_ssim":["Donated by William Nicoson in multiple parts, first in 1992, then October 6, 1994, August 26, 1998 and the final donation was made on January 12, 1999."],"access_subjects_ssim":["Housing--Virginia--Reston.","Planned communities--Virginia--Reston."],"access_subjects_ssm":["Housing--Virginia--Reston.","Planned communities--Virginia--Reston."],"has_online_content_ssim":["true"],"extent_ssm":["12.0 linear feet (25 boxes)"],"extent_tesim":["12.0 linear feet (25 boxes)"],"date_range_isim":[1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"arrangement_html_tesm":["\u003cp\u003eOrganized into six series.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Correspondence, 1965-1980 (Boxes 1-3)\u003c/item\u003e\n        \u003citem\u003eSeries 2: Reston, 1960-1985 (Boxes 3-5)\u003c/item\u003e\n        \u003citem\u003eSeries 3: Federal, 1960-1980 (Boxes 5-8)\u003c/item\u003e\n        \u003citem\u003eSeries 4: International, 1957-1979 (Boxes 8-12)\u003c/item\u003e\n        \u003citem\u003eSeries 5: Newsclippings, 1960-1985 (Boxes 12-14)\u003c/item\u003e\n        \u003citem\u003eSeries 6: General Information, 1954-1999 (Boxes 14-20)\u003c/item\u003e\n        \u003citem\u003eSeries 7: Newspaper Columns, 1982-2007 (Boxes 21-25)\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Organized into six series.","Series 1: Correspondence, 1965-1980 (Boxes 1-3) Series 2: Reston, 1960-1985 (Boxes 3-5) Series 3: Federal, 1960-1980 (Boxes 5-8) Series 4: International, 1957-1979 (Boxes 8-12) Series 5: Newsclippings, 1960-1985 (Boxes 12-14) Series 6: General Information, 1954-1999 (Boxes 14-20) Series 7: Newspaper Columns, 1982-2007 (Boxes 21-25)"],"bioghist_html_tesm":["\u003cp\u003eWilliam Jarvie Nicoson (1932-2013) was born in Pittsburgh, Pennsylvania to Marion Jarvie and William McGarvey Nicoson. He attended Phillips Exeter Academy, Princeton University, and Harvard Law School. He spent his Junior Year of college at the Sorbonne in Paris, where he studied acting with the Director of the Comedie Francais.  At Princeton, he was a member of the Army ROTC.  He served as an officer in the U.S. Army in Germany for two years.\u003c/p\u003e","\u003cp\u003eNicoson's career began at the law firm of Sullivan \u0026amp; Cromwell. He worked in New York City and Paris practicing law before moving to Washington, D.C. in the 1960s.\u003c/p\u003e","\u003cp\u003eIn 1965 the Department of Housing and Urban Development (HUD) was created as an executive cabinet-level agency. HUD's mission is to help promote affordable home ownership and community development. William Nicoson was the first Director of the New Community Assistance Program at HUD. The primary goal of this office was to help foster cooperation among all levels of government and private business, both non-profit and profit. He resigned from this position in 1972.\u003c/p\u003e","\u003cp\u003eWhen he moved to Washington, D.C., from New York City, he moved to the then-new community of Reston, Virginia. Robert E. Simon, Jr. was the founder of Reston. Simon purchased the land with the proceeds from the sale of Carnegie Hall in New York City in 1961. Construction began in 1963 with the building of Lake Anne. Nicoson and Simon shared many interests in planned communities and taught a course together in New Community Planning at the New School in New York City.\u003c/p\u003e","\u003cp\u003eNicoson was very active in Reston community organizations and served on a number of boards and committees. He was one of the founders of the Reston Connection newspaper and he served as publisher and writer of a weekly column for five years. He also wrote a monthly column for the Reston Times. In 2002 he was given the \"Best of Reston\" award for his civic participation. \n\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Information"],"bioghist_tesim":["William Jarvie Nicoson (1932-2013) was born in Pittsburgh, Pennsylvania to Marion Jarvie and William McGarvey Nicoson. He attended Phillips Exeter Academy, Princeton University, and Harvard Law School. He spent his Junior Year of college at the Sorbonne in Paris, where he studied acting with the Director of the Comedie Francais.  At Princeton, he was a member of the Army ROTC.  He served as an officer in the U.S. Army in Germany for two years.","Nicoson's career began at the law firm of Sullivan \u0026 Cromwell. He worked in New York City and Paris practicing law before moving to Washington, D.C. in the 1960s.","In 1965 the Department of Housing and Urban Development (HUD) was created as an executive cabinet-level agency. HUD's mission is to help promote affordable home ownership and community development. William Nicoson was the first Director of the New Community Assistance Program at HUD. The primary goal of this office was to help foster cooperation among all levels of government and private business, both non-profit and profit. He resigned from this position in 1972.","When he moved to Washington, D.C., from New York City, he moved to the then-new community of Reston, Virginia. Robert E. Simon, Jr. was the founder of Reston. Simon purchased the land with the proceeds from the sale of Carnegie Hall in New York City in 1961. Construction began in 1963 with the building of Lake Anne. Nicoson and Simon shared many interests in planned communities and taught a course together in New Community Planning at the New School in New York City.","Nicoson was very active in Reston community organizations and served on a number of boards and committees. He was one of the founders of the Reston Connection newspaper and he served as publisher and writer of a weekly column for five years. He also wrote a monthly column for the Reston Times. In 2002 he was given the \"Best of Reston\" award for his civic participation. \n"],"prefercite_html_tesm":["\u003cp\u003eWilliam Nicoson papers, C0164, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["William Nicoson papers, C0164, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe William Nicoson Papers were originally attached to the larger Planned Community Archives collection currently in the Special Collections and Archives. In 2009 the documents were removed and organized into a separate collection still housed in the Special Collections and Archives at George Mason University Libraries. The old box and folder numbers are also included as part of the new arrangement.\u003c/p\u003e","\u003cp\u003eProcessed in May 2009 by Emily Martin. Series 7 added in July 2013 by Greta Kuriger Suiter.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The William Nicoson Papers were originally attached to the larger Planned Community Archives collection currently in the Special Collections and Archives. In 2009 the documents were removed and organized into a separate collection still housed in the Special Collections and Archives at George Mason University Libraries. The old box and folder numbers are also included as part of the new arrangement.","Processed in May 2009 by Emily Martin. Series 7 added in July 2013 by Greta Kuriger Suiter."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections and Archives also holds the Planned Community Archives and other personal papers and organizational records that document Reston, Virginia, and other planned communities.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["The Special Collections and Archives also holds the Planned Community Archives and other personal papers and organizational records that document Reston, Virginia, and other planned communities."],"scopecontent_html_tesm":["\u003cp\u003eThe William Nicoson papers contain material on Reston redevelopment, mostly promotional. The collection includes maps, charts, publications, slides, and newsclippings. The collection also includes information on federal housing agencies and documentation on new towns in the United States, France, Sweden, and the United Kingdom.\u003c/p\u003e","\u003cp\u003eSeries one is titled Correspondence. The series contains different correspondence to and from William Nicoson. The correspondence covers a variety of topics such as the Interstate Land Development Company, Low-Income Households in New Towns, Chapel Hill Study and William Nicoson's personal correspondence. The series is dated from 1965 to 1980 and is contained in boxes 1 through 3.\u003c/p\u003e","\u003cp\u003eSeries two is titled Reston. The series includes information about the development on Reston, including the Reston Town Center, Lake Anne Elementary School and newsclippings from newspaper in Reston and outside of the area. The series is dated from 1960 to 1985 and is contained in boxes 3 through 5.\u003c/p\u003e","\u003cp\u003eSeries three is titled Federal. The information in this series is from federal programs and agencies including Congress about the development of new towns. The material covers a variety of topics such as U.S. Government Memorandum on Tax Reform Act from 1969, U.S. Senate Report on New Towns and Housing and Urban Development (HUD). The series is dated from 1960 to 1980 and is contained in boxes 5 through 8.\u003c/p\u003e","\u003cp\u003eSeries four is titled International. The series covers a variety of international new towns from France, Sweden, the United Kingdom and others, mostly European nations. Most of the information is brochures, maps and statistics from the international new towns. The series is dated from 1957 to 1979 and is contained in boxes 8 through 12.\u003c/p\u003e","\u003cp\u003eSeries five is titled Newsclippings. The articles in this collection are mostly from newspapers about different new towns both nationally and internationally. Also in the series are articles written by different people involved in new town development. The series is dated from 1960 to 1985 and is contained in boxes 12 through 14.\u003c/p\u003e","\u003cp\u003eSeries six is titled General Information. The information in this series covers a variety of topics such as Richmond Metropolitan Authority, Town and Country Planning Association and New Communities Development Handbook. Also included are booklets, advertisements, slides and maps. The series is dated from 1954 to 1999 and is contained in boxes 14 through 20.\u003c/p\u003e","\u003cp\u003eSeries seven is titled Newspaper Columns. This series consists of paper and digital files containing original drafts and research materials for newspaper columns written by William Nicoson that were originally published in the Reston Connection during the late 1990s and early 2000s. The series contains materials dating from 1982 to 2007 and comprises box 21 through 25.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The William Nicoson papers contain material on Reston redevelopment, mostly promotional. The collection includes maps, charts, publications, slides, and newsclippings. The collection also includes information on federal housing agencies and documentation on new towns in the United States, France, Sweden, and the United Kingdom.","Series one is titled Correspondence. The series contains different correspondence to and from William Nicoson. The correspondence covers a variety of topics such as the Interstate Land Development Company, Low-Income Households in New Towns, Chapel Hill Study and William Nicoson's personal correspondence. The series is dated from 1965 to 1980 and is contained in boxes 1 through 3.","Series two is titled Reston. The series includes information about the development on Reston, including the Reston Town Center, Lake Anne Elementary School and newsclippings from newspaper in Reston and outside of the area. The series is dated from 1960 to 1985 and is contained in boxes 3 through 5.","Series three is titled Federal. The information in this series is from federal programs and agencies including Congress about the development of new towns. The material covers a variety of topics such as U.S. Government Memorandum on Tax Reform Act from 1969, U.S. Senate Report on New Towns and Housing and Urban Development (HUD). The series is dated from 1960 to 1980 and is contained in boxes 5 through 8.","Series four is titled International. The series covers a variety of international new towns from France, Sweden, the United Kingdom and others, mostly European nations. Most of the information is brochures, maps and statistics from the international new towns. The series is dated from 1957 to 1979 and is contained in boxes 8 through 12.","Series five is titled Newsclippings. The articles in this collection are mostly from newspapers about different new towns both nationally and internationally. Also in the series are articles written by different people involved in new town development. The series is dated from 1960 to 1985 and is contained in boxes 12 through 14.","Series six is titled General Information. The information in this series covers a variety of topics such as Richmond Metropolitan Authority, Town and Country Planning Association and New Communities Development Handbook. Also included are booklets, advertisements, slides and maps. The series is dated from 1954 to 1999 and is contained in boxes 14 through 20.","Series seven is titled Newspaper Columns. This series consists of paper and digital files containing original drafts and research materials for newspaper columns written by William Nicoson that were originally published in the Reston Connection during the late 1990s and early 2000s. The series contains materials dating from 1982 to 2007 and comprises box 21 through 25."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the William Nicoson papers must be obtained from Special Collections Research Center, George Mason University Libraries.\n\n\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the William Nicoson papers must be obtained from Special Collections Research Center, George Mason University Libraries.\n\n"],"abstract_html_tesm":["\u003cabstract id=\"ref2\" label=\"Abstract\"\u003eThe William Nicoson papers contain material on Reston redevelopment, mostly promotional. The collection includes maps, charts, publications, slides, and newsclippings. The collection also includes information on federal housing agencies and documentation on new towns in the United States, France, Sweden, and the United Kingdom.\u003c/abstract\u003e"],"abstract_tesim":["The William Nicoson papers contain material on Reston redevelopment, mostly promotional. The collection includes maps, charts, publications, slides, and newsclippings. The collection also includes information on federal housing agencies and documentation on new towns in the United States, France, Sweden, and the United Kingdom."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","United States. Dept. of Housing and Urban Development.","United States. Office of New Community Development Corporation.","Nicoson, William","Nicoson, William."],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","United States. Dept. of Housing and Urban Development.","United States. Office of New Community Development Corporation."],"persname_ssim":["Nicoson, William","Nicoson, William."],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":822,"online_item_count_is":143,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:47:27.786Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_nicoson_c07_c20_c01"}},{"id":"viu_repositories_7_resources_215_c19_c02_c01","type":"Item","attributes":{"title":"A History of U.Va. Cancer Care","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_7_resources_215_c19_c02_c01#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis online exhibit is centered on the book \"A History of Cancer Care at the University of Virginia, 1901-1911.\" This book provides vast insight into the teamwork, dedication, collegiality, and skill–as well as luck–which was necessary for the Cancer Center to exist today. Twenty-five oral history interviews were conducted in the course of researching the book and are included with the book or may be viewed in the videos section of this website. Written by Henry K. Sharp, Ph.D. and Morton C. Wilhelm, M.D. the Joseph Helms Farrow Professor Emeritus in Surgical Oncology, University of Virginia School of Medicine.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_7_resources_215_c19_c02_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_repositories_7_resources_215_c19_c02_c01","ref_ssm":["viu_repositories_7_resources_215_c19_c02_c01"],"id":"viu_repositories_7_resources_215_c19_c02_c01","ead_ssi":"viu_repositories_7_resources_215","_root_":"viu_repositories_7_resources_215","_nest_parent_":"viu_repositories_7_resources_215_c19_c02","parent_ssi":"viu_repositories_7_resources_215_c19_c02","parent_ssim":["viu_repositories_7_resources_215","viu_repositories_7_resources_215_c19","viu_repositories_7_resources_215_c19_c02"],"parent_ids_ssim":["viu_repositories_7_resources_215","viu_repositories_7_resources_215_c19","viu_repositories_7_resources_215_c19_c02"],"parent_unittitles_ssm":["Claude Moore Health Sciences Library records","Exhibits","Online Exhibits"],"parent_unittitles_tesim":["Claude Moore Health Sciences Library records","Exhibits","Online Exhibits"],"text":["Claude Moore Health Sciences Library records","Exhibits","Online Exhibits","A History of U.Va. Cancer Care","This online exhibit is centered on the book \"A History of Cancer Care at the University of Virginia, 1901-1911.\" This book provides vast insight into the teamwork, dedication, collegiality, and skill–as well as luck–which was necessary for the Cancer Center to exist today. Twenty-five oral history interviews were conducted in the course of researching the book and are included with the book or may be viewed in the videos section of this website. Written by Henry K. Sharp, Ph.D. and Morton C. Wilhelm, M.D. the Joseph Helms Farrow Professor Emeritus in Surgical Oncology, University of Virginia School of Medicine."],"title_filing_ssi":"A History of U.Va. Cancer Care","title_ssm":["A History of U.Va. Cancer Care"],"title_tesim":["A History of U.Va. Cancer Care"],"unitdate_other_ssim":["2011"],"normalized_date_ssm":["2011"],"normalized_title_ssm":["A History of U.Va. Cancer Care"],"component_level_isim":[3],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Claude Moore Health Sciences Library records"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":447,"parent_access_restrict_tesm":["The exhibit records are open to research."],"parent_access_terms_tesm":["The Rector and Visitors of the University of Virginia own the copyright to exhibit content created by University employees while acting within the scope of their employment.  Copyright ownership for other materials in this series varies."],"digital_objects_ssm":["{\"label\":\"History of Cancer Care Online Exhibit\",\"href\":\"https://wayback.archive-it.org/18731/20250701185043/https://blog.hsl.virginia.edu/uvacancer/index.html\"}"],"date_range_isim":[2011],"scopecontent_html_tesm":["\u003cp\u003eThis online exhibit is centered on the book \"A History of Cancer Care at the University of Virginia, 1901-1911.\" This book provides vast insight into the teamwork, dedication, collegiality, and skill–as well as luck–which was necessary for the Cancer Center to exist today. Twenty-five oral history interviews were conducted in the course of researching the book and are included with the book or may be viewed in the videos section of this website. Written by Henry K. Sharp, Ph.D. and Morton C. Wilhelm, M.D. the Joseph Helms Farrow Professor Emeritus in Surgical Oncology, University of Virginia School of Medicine.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This online exhibit is centered on the book \"A History of Cancer Care at the University of Virginia, 1901-1911.\" This book provides vast insight into the teamwork, dedication, collegiality, and skill–as well as luck–which was necessary for the Cancer Center to exist today. Twenty-five oral history interviews were conducted in the course of researching the book and are included with the book or may be viewed in the videos section of this website. Written by Henry K. Sharp, Ph.D. and Morton C. Wilhelm, M.D. the Joseph Helms Farrow Professor Emeritus in Surgical Oncology, University of Virginia School of Medicine."],"_nest_path_":"/components#18/components#1/components#0","timestamp":"2026-04-30T22:45:52.592Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_7_resources_215","ead_ssi":"viu_repositories_7_resources_215","_root_":"viu_repositories_7_resources_215","_nest_parent_":"viu_repositories_7_resources_215","ead_source_url_ssi":"data/oai/UVA/repositories_7_resources_215.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/133046","title_ssm":["Claude Moore Health Sciences Library records"],"title_tesim":["Claude Moore Health Sciences Library records"],"unitdate_ssm":["1942-2025","1848-2019"],"unitdate_bulk_ssim":["1942-2025"],"unitdate_inclusive_ssm":["1848-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["RG.17.4","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/7/resources/215"],"text":["RG.17.4","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/7/resources/215","Claude Moore Health Sciences Library records","University of Virginia","The records of the Claude Moore Health Sciences Library are open to researchers, except where it is noted. Decisions to close records to research are made in accordance with the Health Insurance Portability and Accountability Act of 1996 (HIPAA), the Family Educational Rights and Privacy Act of 1974 (FERPA), the Virginia Freedom of Information Act (VAFOIA), the policies of the University of Virginia, and other relevent laws, regulations, or policies.","Records are generally organized according to the records retention and disposition schedules series maintained by the Library of Virginia (LVA). When necessary, additional subdivisions have been created for materials that do not have clear equivalents in the LVA resources.","\nBetween 1826 and 1929, the University of Virginia's collection of medical books and journals were kept with the general library collections in the Rotunda. In 1929, the University moved the collections to the new Medical Library inside the recently-constructed Medical School Building. \n","\nBetween 1929 and 1962, a medical librarian with a small staff of student and clerical workers stewarded the library's collections. The Medical Library at this time, although physically separate from the rest of the University's libraries, was administered as part of the central University library system with oversight from School of Medicine faculty serving on the Medical Library Committee. In addition to the management of collections, the medical librarians in this era began to curate exhibits and provide instruction. Only a few of the medical librarians who served in this period had professional library training.\n","\nIn 1962, Wilhelm Moll was appointed the first Director of the Medical Library. During his tenure, Moll oversaw the radical trasnformation of a small branch library into an independent research library. The full-time library staff expanded from 4 to 30, the University built a new library building over Jefferson Park Avenue, the nursing and medical libraries merged to form the Health Sciences Library, a history of medicine program was founded, and the library began to adopt digital technologies.\n","\nAfter Moll's death in 1979, the University apppointed Terry Thorkildsen as the Director of the Claude Moore Health Sciences Library.  Thorkildsen and his successors Linda Watson (1990-2005) and Gretchen Arnold (2005-present) led the library during an era when revolutionary advances in digital technologies (e.g. the Internet, personal computers, databases) presented new challenges and opportunities for the Library.\n","","September 1826: The University of Virginia Library opens in the Rotunda and it includes a collection of medical books. 1911: The University Library's entire collection of medical books and journals are gathered together and moved to the basement of the Rotunda. September 13, 1915: Richard Henry Whitehead, Dean of the School of Medicine, creates the Medical Library Committee. 1919-June 1929: Ella Watson Johnson serves as the Medical Librarian. June 1929: The Medical Library moves from the basement of the Rotunda to its own space in the new Medical School Building, the Medical Library remains a department of the central University Library System. June 1929-September 1929: Margaret Otto serves as the Medical Librarian. 1929-1931: Anne Ashhurst Gwathmey serves as the Medical Librarian. 1931-1934: Caroline Hill Davis serves as the Medical Librarian. March 1934-June 1934: Dora Mitchell Brown serves as the Medical Librarian. 1934-1936: Miriam Thomas Buchanan serves as the Medical Librarian. 1935: The Medical Library institutes its first orientation for first year medical students. 1936-1943: Anne Lewis Morris serves as the Medical Librarian. 1943-1944: Mary Elizabeth Mayo serves as the Medical Librarian. 1944-1947: Mabel Cook Wyllie serves as the Medical Librarian. 1945-1949: The Nursing Library is placed under the Supervision of the Medical Librarian until the appointment of a clerk to manage the Nursing collection. 1947-1962: Elizabeth Frances Adkins serves as the Medical Librarian. September 1962: Wilhelm Moll is appointed the Director of the Medical Library. 1962-1963: As the result of administrative reorganizations during this period, the Medical Library is separated from the central University Library system and placed under the control of the School of Medicine. November 1970: Librarians conduct the first online searches of a database at the University of Virginia Medical Library using the experimental AIM-TWX service developed by the National Library of Medicine's Lister Hill National Center for Biomedical Communications. November 1971: Librarians begin using the National Library of Medicine's MEDLINE system to conduct online searches for patrons. August 1975: The Medical Library and Nursing Library are merged into the Health Sciences Library and Information Center and moved into a new building that spans over Jefferson Park Avenue. Wilhelm Moll is made the Director of the Health Sciences Library. April 1976: The Health Sciences Library is formally dedicated and named after Claude Moore, an alumnus of and donor to the University of Virginia. 1979: Terry Thorkildsen is appointed the Director of the Claude Moore Health Sciences Library. 1989: The library card catalog is digitized and made available through computer terminals. 1990: Linda Watson is appointed the Director of the Claude Moore Health Sciences Library. 2005: Gretchen Arnold is appointed the interim Director of the Claude Moore Health Sciences Library and is then made Director in 2007. 2022: Bart Ragon is appointed the Director of the Claude Moore Health Sciences Library.","This collection consists of permanent and historically significant institutional records created by the University of Virginia Health Sciences Library and the antecedent Medical Library. These records include, but are not limited to: annual reports, planning documents, newsletters, online exhibits, blogs, social media content, conference programs, department histories, committee records, and library-sponsored lecture materials.","The Rector and Visitors of the University of Virginia own the copyright to records created by University employees while acting within the scope of their employment, except scholarly and academic works.  Copyright ownership for other materials in this collection varies.","Claude Moore Health Sciences Library","English"],"unitid_tesim":["RG.17.4","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/7/resources/215"],"normalized_title_ssm":["Claude Moore Health Sciences Library records"],"collection_title_tesim":["Claude Moore Health Sciences Library records"],"collection_ssim":["Claude Moore Health Sciences Library records"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"access_terms_ssm":["The Rector and Visitors of the University of Virginia own the copyright to records created by University employees while acting within the scope of their employment, except scholarly and academic works.  Copyright ownership for other materials in this collection varies."],"access_subjects_ssim":["University of Virginia"],"access_subjects_ssm":["University of Virginia"],"has_online_content_ssim":["true"],"extent_ssm":["97 Volumes 97 bound volumes and enclosures on book shelves","8 Linear Feet 29 archival boxes"],"extent_tesim":["97 Volumes 97 bound volumes and enclosures on book shelves","8 Linear Feet 29 archival boxes"],"date_range_isim":[1848,1849,1850,1851,1852,1853,1854,1855,1856,1857,1858,1859,1860,1861,1862,1863,1864,1865,1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024,2025],"accessrestrict_html_tesm":["\u003cp\u003eThe records of the Claude Moore Health Sciences Library are open to researchers, except where it is noted. Decisions to close records to research are made in accordance with the Health Insurance Portability and Accountability Act of 1996 (HIPAA), the Family Educational Rights and Privacy Act of 1974 (FERPA), the Virginia Freedom of Information Act (VAFOIA), the policies of the University of Virginia, and other relevent laws, regulations, or policies.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The records of the Claude Moore Health Sciences Library are open to researchers, except where it is noted. Decisions to close records to research are made in accordance with the Health Insurance Portability and Accountability Act of 1996 (HIPAA), the Family Educational Rights and Privacy Act of 1974 (FERPA), the Virginia Freedom of Information Act (VAFOIA), the policies of the University of Virginia, and other relevent laws, regulations, or policies."],"arrangement_html_tesm":["\u003cp\u003eRecords are generally organized according to the records retention and disposition schedules series maintained by the Library of Virginia (LVA). When necessary, additional subdivisions have been created for materials that do not have clear equivalents in the LVA resources.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Records are generally organized according to the records retention and disposition schedules series maintained by the Library of Virginia (LVA). When necessary, additional subdivisions have been created for materials that do not have clear equivalents in the LVA resources."],"bioghist_html_tesm":["\u003cp\u003e\nBetween 1826 and 1929, the University of Virginia's collection of medical books and journals were kept with the general library collections in the Rotunda. In 1929, the University moved the collections to the new Medical Library inside the recently-constructed Medical School Building. \n\u003c/p\u003e","\u003cp\u003e\nBetween 1929 and 1962, a medical librarian with a small staff of student and clerical workers stewarded the library's collections. The Medical Library at this time, although physically separate from the rest of the University's libraries, was administered as part of the central University library system with oversight from School of Medicine faculty serving on the Medical Library Committee. In addition to the management of collections, the medical librarians in this era began to curate exhibits and provide instruction. Only a few of the medical librarians who served in this period had professional library training.\n\u003c/p\u003e","\u003cp\u003e\nIn 1962, Wilhelm Moll was appointed the first Director of the Medical Library. During his tenure, Moll oversaw the radical trasnformation of a small branch library into an independent research library. The full-time library staff expanded from 4 to 30, the University built a new library building over Jefferson Park Avenue, the nursing and medical libraries merged to form the Health Sciences Library, a history of medicine program was founded, and the library began to adopt digital technologies.\n\u003c/p\u003e","\u003cp\u003e\nAfter Moll's death in 1979, the University apppointed Terry Thorkildsen as the Director of the Claude Moore Health Sciences Library.  Thorkildsen and his successors Linda Watson (1990-2005) and Gretchen Arnold (2005-present) led the library during an era when revolutionary advances in digital technologies (e.g. the Internet, personal computers, databases) presented new challenges and opportunities for the Library.\n\u003c/p\u003e","\u003cbr\u003e","\u003cul\u003e\n\u003cli\u003eSeptember 1826: The University of Virginia Library opens in the Rotunda and it includes a collection of medical books.\u003c/li\u003e\n\u003cli\u003e1911: The University Library's entire collection of medical books and journals are gathered together and moved to the basement of the Rotunda.\u003c/li\u003e\n\u003cli\u003eSeptember 13, 1915: Richard Henry Whitehead, Dean of the School of Medicine, creates the Medical Library Committee.\u003c/li\u003e\n\u003cli\u003e1919-June 1929: Ella Watson Johnson serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003eJune 1929: The Medical Library moves from the basement of the Rotunda to its own space in the new Medical School Building, the Medical Library remains a department of the central University Library System.\u003c/li\u003e\n\u003cli\u003eJune 1929-September 1929: Margaret Otto serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003e1929-1931: Anne Ashhurst Gwathmey serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003e1931-1934: Caroline Hill Davis serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003eMarch 1934-June 1934: Dora Mitchell Brown serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003e1934-1936: Miriam Thomas Buchanan serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003e1935: The Medical Library institutes its first orientation for first year medical students.\u003c/li\u003e\n\u003cli\u003e1936-1943: Anne Lewis Morris serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003e1943-1944: Mary Elizabeth Mayo serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003e1944-1947: Mabel Cook Wyllie serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003e1945-1949: The Nursing Library is placed under the Supervision of the Medical Librarian until the appointment of a clerk to manage the Nursing collection.\u003c/li\u003e\n\u003cli\u003e1947-1962: Elizabeth Frances Adkins serves as the Medical Librarian.\u003c/li\u003e\n\u003cli\u003eSeptember 1962: Wilhelm Moll is appointed the Director of the Medical Library.\u003c/li\u003e\n\u003cli\u003e1962-1963: As the result of administrative reorganizations during this period, the Medical Library is separated from the central University Library system and placed under the control of the School of Medicine.\u003c/li\u003e\n\u003cli\u003eNovember 1970: Librarians conduct the first online searches of a database at the University of Virginia Medical Library using the experimental AIM-TWX service developed by the National Library of Medicine's Lister Hill National Center for Biomedical Communications.\u003c/li\u003e\n\u003cli\u003eNovember 1971: Librarians begin using the National Library of Medicine's MEDLINE system to conduct online searches for patrons.\u003c/li\u003e\n\u003cli\u003eAugust 1975: The Medical Library and Nursing Library are merged into the Health Sciences Library and Information Center and moved into a new building that spans over Jefferson Park Avenue. Wilhelm Moll is made the Director of the Health Sciences Library.\u003c/li\u003e\n\u003cli\u003eApril 1976: The Health Sciences Library is formally dedicated and named after Claude Moore, an alumnus of and donor to the University of Virginia.\u003c/li\u003e\n\u003cli\u003e1979: Terry Thorkildsen is appointed the Director of the Claude Moore Health Sciences Library.\u003c/li\u003e\n\u003cli\u003e1989: The library card catalog is digitized and made available through computer terminals.\u003c/li\u003e\n\u003cli\u003e1990: Linda Watson is appointed the Director of the Claude Moore Health Sciences Library.\u003c/li\u003e\n\u003cli\u003e2005: Gretchen Arnold is appointed the interim Director of the Claude Moore Health Sciences Library and is then made Director in 2007.\u003c/li\u003e\n\u003cli\u003e2022: Bart Ragon is appointed the Director of the Claude Moore Health Sciences Library.\u003c/li\u003e\n\u003c/ul\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\nBetween 1826 and 1929, the University of Virginia's collection of medical books and journals were kept with the general library collections in the Rotunda. In 1929, the University moved the collections to the new Medical Library inside the recently-constructed Medical School Building. \n","\nBetween 1929 and 1962, a medical librarian with a small staff of student and clerical workers stewarded the library's collections. The Medical Library at this time, although physically separate from the rest of the University's libraries, was administered as part of the central University library system with oversight from School of Medicine faculty serving on the Medical Library Committee. In addition to the management of collections, the medical librarians in this era began to curate exhibits and provide instruction. Only a few of the medical librarians who served in this period had professional library training.\n","\nIn 1962, Wilhelm Moll was appointed the first Director of the Medical Library. During his tenure, Moll oversaw the radical trasnformation of a small branch library into an independent research library. The full-time library staff expanded from 4 to 30, the University built a new library building over Jefferson Park Avenue, the nursing and medical libraries merged to form the Health Sciences Library, a history of medicine program was founded, and the library began to adopt digital technologies.\n","\nAfter Moll's death in 1979, the University apppointed Terry Thorkildsen as the Director of the Claude Moore Health Sciences Library.  Thorkildsen and his successors Linda Watson (1990-2005) and Gretchen Arnold (2005-present) led the library during an era when revolutionary advances in digital technologies (e.g. the Internet, personal computers, databases) presented new challenges and opportunities for the Library.\n","","September 1826: The University of Virginia Library opens in the Rotunda and it includes a collection of medical books. 1911: The University Library's entire collection of medical books and journals are gathered together and moved to the basement of the Rotunda. September 13, 1915: Richard Henry Whitehead, Dean of the School of Medicine, creates the Medical Library Committee. 1919-June 1929: Ella Watson Johnson serves as the Medical Librarian. June 1929: The Medical Library moves from the basement of the Rotunda to its own space in the new Medical School Building, the Medical Library remains a department of the central University Library System. June 1929-September 1929: Margaret Otto serves as the Medical Librarian. 1929-1931: Anne Ashhurst Gwathmey serves as the Medical Librarian. 1931-1934: Caroline Hill Davis serves as the Medical Librarian. March 1934-June 1934: Dora Mitchell Brown serves as the Medical Librarian. 1934-1936: Miriam Thomas Buchanan serves as the Medical Librarian. 1935: The Medical Library institutes its first orientation for first year medical students. 1936-1943: Anne Lewis Morris serves as the Medical Librarian. 1943-1944: Mary Elizabeth Mayo serves as the Medical Librarian. 1944-1947: Mabel Cook Wyllie serves as the Medical Librarian. 1945-1949: The Nursing Library is placed under the Supervision of the Medical Librarian until the appointment of a clerk to manage the Nursing collection. 1947-1962: Elizabeth Frances Adkins serves as the Medical Librarian. September 1962: Wilhelm Moll is appointed the Director of the Medical Library. 1962-1963: As the result of administrative reorganizations during this period, the Medical Library is separated from the central University Library system and placed under the control of the School of Medicine. November 1970: Librarians conduct the first online searches of a database at the University of Virginia Medical Library using the experimental AIM-TWX service developed by the National Library of Medicine's Lister Hill National Center for Biomedical Communications. November 1971: Librarians begin using the National Library of Medicine's MEDLINE system to conduct online searches for patrons. August 1975: The Medical Library and Nursing Library are merged into the Health Sciences Library and Information Center and moved into a new building that spans over Jefferson Park Avenue. Wilhelm Moll is made the Director of the Health Sciences Library. April 1976: The Health Sciences Library is formally dedicated and named after Claude Moore, an alumnus of and donor to the University of Virginia. 1979: Terry Thorkildsen is appointed the Director of the Claude Moore Health Sciences Library. 1989: The library card catalog is digitized and made available through computer terminals. 1990: Linda Watson is appointed the Director of the Claude Moore Health Sciences Library. 2005: Gretchen Arnold is appointed the interim Director of the Claude Moore Health Sciences Library and is then made Director in 2007. 2022: Bart Ragon is appointed the Director of the Claude Moore Health Sciences Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of permanent and historically significant institutional records created by the University of Virginia Health Sciences Library and the antecedent Medical Library. These records include, but are not limited to: annual reports, planning documents, newsletters, online exhibits, blogs, social media content, conference programs, department histories, committee records, and library-sponsored lecture materials.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of permanent and historically significant institutional records created by the University of Virginia Health Sciences Library and the antecedent Medical Library. These records include, but are not limited to: annual reports, planning documents, newsletters, online exhibits, blogs, social media content, conference programs, department histories, committee records, and library-sponsored lecture materials."],"userestrict_html_tesm":["\u003cp\u003eThe Rector and Visitors of the University of Virginia own the copyright to records created by University employees while acting within the scope of their employment, except scholarly and academic works.  Copyright ownership for other materials in this collection varies.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The Rector and Visitors of the University of Virginia own the copyright to records created by University employees while acting within the scope of their employment, except scholarly and academic works.  Copyright ownership for other materials in this collection varies."],"names_ssim":["Claude Moore Health Sciences Library"],"corpname_ssim":["Claude Moore Health Sciences Library"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":471,"online_item_count_is":26,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:45:52.592Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_7_resources_215_c19_c02_c01"}},{"id":"viu_repositories_3_resources_779_c02_c15","type":"Item","attributes":{"title":"A hunting song","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_779_c02_c15#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_779_c02_c15#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viu_repositories_3_resources_779_c02_c15","ref_ssm":["viu_repositories_3_resources_779_c02_c15"],"id":"viu_repositories_3_resources_779_c02_c15","ead_ssi":"viu_repositories_3_resources_779","_root_":"viu_repositories_3_resources_779","_nest_parent_":"viu_repositories_3_resources_779_c02","parent_ssi":"viu_repositories_3_resources_779_c02","parent_ssim":["viu_repositories_3_resources_779","viu_repositories_3_resources_779_c02"],"parent_ids_ssim":["viu_repositories_3_resources_779","viu_repositories_3_resources_779_c02"],"parent_unittitles_ssm":["Virginia Folklore Society records","Folk Song recordings"],"parent_unittitles_tesim":["Virginia Folklore Society records","Folk Song recordings"],"text":["Virginia Folklore Society records","Folk Song recordings","A hunting song","Morris, Victoria Shifflett","box 27","Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States"],"title_filing_ssi":"A hunting song","title_ssm":["A hunting song"],"title_tesim":["A hunting song"],"unitdate_other_ssim":["1932-11-21"],"normalized_date_ssm":["1932"],"normalized_title_ssm":["A hunting song"],"component_level_isim":[2],"repository_ssim":["University of Virginia, Special Collections Dept."],"collection_ssim":["Virginia Folklore Society records"],"creator_ssim":["Morris, Victoria Shifflett"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":43,"parent_access_restrict_tesm":["Boxes 27 and 28 in this series DO NOT circulate."],"digital_objects_ssm":["{\"label\":\"A hunting song, 1932-11-21\",\"href\":\"http://avalon.lib.virginia.edu/media_objects/v979v3282\"}"],"date_range_isim":[1932],"names_ssim":["Morris, Victoria Shifflett"],"persname_ssim":["Morris, Victoria Shifflett"],"containers_ssim":["box 27"],"scopecontent_html_tesm":["\u003cp\u003eVictoria Morris, vocals. Performance location: Albemarle County, Virginia, United States\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Victoria Morris, vocals. Performance location: Albemarle County, Virginia, United States"],"_nest_path_":"/components#1/components#14","timestamp":"2026-04-30T22:47:53.526Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_779","ead_ssi":"viu_repositories_3_resources_779","_root_":"viu_repositories_3_resources_779","_nest_parent_":"viu_repositories_3_resources_779","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_779.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/687","title_filing_ssi":"Virginia Folklore Society records","title_ssm":["Virginia Folklore Society records"],"title_tesim":["Virginia Folklore Society records"],"unitdate_ssm":["1905-2007"],"unitdate_inclusive_ssm":["1905-2007"],"level_ssm":["collection"],"level_ssim":["Series","Collection"],"unitid_ssm":["MSS 9936","Archival Resource Key","/repositories/3/resources/779"],"text":["MSS 9936","Archival Resource Key","/repositories/3/resources/779","Virginia Folklore Society records","clippings (information artifacts)","Black-and-white photographs","Notebooks","Boxes 27 and 28 do not circulate.","Arranged into three series: Series 1: Folk Songs; Series 2: Folk Song recordings; Series 3: Accession 2019-0235","The broad outlines of change and growth in the study of folklore/folklife, however, is reflected on a small scale in the history of the Virginia Folklore Society and its three successive, but overlapping periods of development and achievement. These can be defined as: \"The Quest for the Ballad,\" \"The Arthur Kyle Davis, Jr. Years,\" and \"Folklore/Folklife: Professionalization of the Discipline.\" ","The Quest for the Ballad: This era began with the founding of the Society by C. Alphonso Smith and is identified with his efforts and those of notable collectors, such as John Stone, Alfreda Peel, Martha Davis and Juliet Fauntleroy, as well as other teachers and members of the Virginia State Educational Association. In the first Bulletin of the Society in 1913, Smith made the pursuit of the ballad explicit and primary. Although he expressed interest in other types of folklore and acknowledged that \"[t]he ballad is not the whole of folklore,\" still this and all subsequent volumes of the Bulletin were devoted almost entirely to considerations of the ballad and its collection in Virginia (pp. 1-5). ","Under C. Alphonso Smith's guidance as its first President and later as Vice-President and Archivist, early members of the Society concentrated on collecting oral versions of the classic English and Scottish ballads as defined by Francis James Child in his five volumes of The English and Scottish Popular Ballads, published between 1882 and 1898. In the Bulletin for the third annual meeting held November 26, 1915, Smith reported on progress toward the Society's goal of obtaining at least 50 Child ballads in the State and he thanked \"all those who have co-operated with us in the effort made to restore our lyric past, and to make it a part of our lyric present.\" ","By 1920, Stone's expansive program had suffered from membership and revenue loss in the wake of World War I. In the Secretary-Treasurer's report for the \"Year Ending November 25, 1920,\" J. B. Ferneyhough noted that after paying $16.80 for paper and printing of the Bulletin, $.65 on envelopes for same, and $1.13 on postage to send them, the Society's balance in the Treasury was $.52. (Report for 1920, Bulletin, No. 8, p. 10). However, the Colonial Dames of America in the State of Virginia took an interest in the Society the following year and supported John Stone's \"ballad tours\" by donating $500 \"for the recapture of these priceless relics of colonial literature scattered through the State.\" The typescript of instructions written by C. Alphonso Smith to John Stone regarding the field work to be carried out with that support, as well as excerpts from Stone's meticulous accounts of expenditures including his final $.25 charge for shoe polish are of some historic interest in the annals of supported folklore research. Needless to say, the Society's Bulletin for 1921 was gratefully dedicated to the Colonial Dames of America. ","Two figures, who were important in the later periods of the Society's history, appeared on the scene for the first time at the 10th annual meeting on November 30, 1923, again held at the John Marshall High School in Richmond. One of these persons was Benjamin C. Moomaw, Jr. of Barber, Virginia, who was elected Secretary-Treasurer of the Society. ","The second individual was Arthur Kyle Davis, Jr. who was, at that time, an Instructor of English at the University of Virginia, where he remained throughout his lifetime. C. Alphonso Smith introduced Davis as the person who will \"publish our findings\" and wrote in the Bulletin that \"I shall turn over all of our ballads to him and he will select, reject, and edit as he thinks best.\" Davis was elected Archivist of the Society at that meeting. (Report for 1923, No. II). In June of 1924, Dr. C. Alphonso Smith died in Annapolis, Maryland. With his passing, the Virginia Folklore Society entered the second and longest phase of its history. ","The Arthur Kyle Davis, Jr. Years: Meetings of the Society were held intermittently between 1924 and 1967, with both the purpose and organization of the Society becoming less clearly defined and apparent. There were periods of intensive collecting, recording and publishing, alternating with intervals of relative inactivity with regard to folklore. ","In 1929, Arthur Kyle Davis, Jr. completed his initial work as editor and published 51 ballads collected under the auspices of the Society in Traditional Ballads in Virginia. Later, Davis wrote a series of articles for The University of Virginia News Letter (April 1, 1931; February 1, 1932; November 15, 1934; and March 1, 1935) describing the ongoing efforts of the Society and urging the further collection of ballads and folksongs. And many Society members did continue through time to actively collect folksongs or other folklore materials and to deposit the results in the Society's archive. ","Beginning in 1932, Davis recorded 325 aluminum disks of folksongs and ballads, many of which, had been previously collected from informants identified earlier in the Society's history. These recordings, which were made possible by a $1,000 grant to Davis and the Society from the American Council of Learned Societies, are among the earliest field recordings of Anglo-American folksong extant in this country. ","In March of 1934 Davis was able to obtain some funding from the Civil Works Administration, one of the Depression-generated New Deal programs. With that assistance he hired John Stone to collect folksongs and Winston Wilkinson to transcribe music. The project only lasted three weeks, but in that short time Stone managed to add another 89 songs to the Society's archive. Davis also was able to employ University of Virginia student and Crozet native, Fred F. Knobloch, in the spring of 1935 through the student-aid provision of another New Deal agency, the Federal Emergency Relief program. ","In addition, Arthur Kyle Davis, Jr. served at least one term as President of the Southeastern Folklore Society.  Its annual program held at the University of Virginia in April, 1941 included Virginia ballads and folksongs sung by one of Alfreda Peel's informants, Mrs. Texas Gladden of Roanoke County.","In 1949, Arthur Kyle Davis, Jr. edited and published Folk-Songs of Virginia: A Descriptive Index and Classification. Otherwise, Society activities appear to have been at their lowest ebb during World War II and for a number of years following. By the mid-1950s, however, Davis, with the help of students George Walton Williams, Matthew Joseph Bruccoli and Paul Clayton Worthington, pursued further collecting possibilities and began efforts to make taped copies of the earlier aluminum disk recordings. ","With the assistance of the aforementioned students, Davis also published More Traditional Ballads of Virginia in 1960. In dedicating the book \"To the Memory of C. Alphonso Smith, Martha M. Davis, Juliet Fauntleroy, Alfreda M. Peel, and John Stone\", Davis gave symbolic recognition--even though belated in some cases--to the passage of an age and a generation in the history of both the Society and of ballad collecting in the old style and tradition. ","On March 15, 1963, Arthur Kyle Davis, Jr. wrote another article for The University of Virginia News Letter titled, \"Folklore in Virginia: Its Collection and Study.\" Perhaps stimulated by the urban folksong revival that was underway nationwide, he stated, \"the time seems ripe to revive the Society and to set its course toward the assembling of the State's miscellaneous folklore.\" This article prompted a considerable response and receipt of folklore collectanea. With that renewed interest, the Society began again to have regular annual meetings in 1967 and folklore materials began coming into the Society's archive in greater volume. Davis had plans to expand Society activities, including the publication of a journal, and he had made preliminary steps in those directions. Those projects were left unrealized when Professor Arthur Kyle Davis, Jr. died in September, 1972. ","Folklore/Folklife: Professionalization of the Discipline: The third phase of the Virginia Folklore Society's history actually began prior to Davis's death, when the media influence from the urban folksong revival and the development of scholarly programs in Folklore at several universities combined both to attract and create a demand for persons trained in such a discipline. In part in response to those particular circumstances and in part due simply to serendipity, several such newly trained Folklore specialists came to work in Virginia and not unexpectedly, soon became involved with the Virginia Folklore Society. With a Ph.D. from the Folklore Progam at the University of Pennsylvania, Charles L. Perdue, Jr. came to teach Folklore courses in the University of Virginia's English Department in 1971 and later became jointly affiliated with both the English \u0026 Anthropology Departments there. Shortly thereafter J. Roderick Moore, with an M.A. in Folklore Studies from the Cooperstown Program in New York State, began working and teaching first at Mountain Empire Community College in Big Stone Gap, then at the Blue Ridge Institute of Ferrum College in Ferrum, Virginia. ","The contact between Perdue, specifically, and Davis at the University with regard to the Society was obviously shortlived. Nevertheless, a collaborative effort to revitalize the Society shortly after Davis's death involved long-time members, Ben C. Moomaw, Jr., President; C. Alphonso Smith, Jr. and Virginia F. Jordan, Vice-Presidents; and Fred F. Knobloch, Secretary-Treasurer; along with Perdue and Moore, their wives Nancy J. Martin-Perdue and Elizabeth Moore, Thomas E. Barden, a former student of Davis's, and many others. ","The decision was made to separate the Society from its former association with the Virginia Educational Association and to hold regular, annual meetings, independently, each Fall in Charlottesville, Virginia. These were begun in November, 1974, with occasional Spring meetings held in various regions of the State. In 1979 the Society began publication of an occasional journal, with this being the fourth volume in the series of Folklore and Folklife in Virginia. ","In spite of its new face, the reorganized Society retained the stamp of an earlier era, which was manifested to a large degree through the personalities and interests of Ben C. Moomaw, Jr., who continued as president of the Society until his death in 1978, and Fred F. Knobloch, who retired as the Society's secretary-treasurer shortly before his death in 1981. ","The changes that have taken place in the Virginia Folklore Society reflect changes that have occurred in the field of Folklore generally, and also in other similar disciplines nationally, since 1913. The expansion of definitions of folklore to include material culture; the establishment of graduate programs in Folklore at Indiana University, the Universities of Pennsylvania, Texas, and California at Los Angeles, and elsewhere; and the movement of folklorists, who were trained in those settings and who thus have a broader view of the discipline, into a wide range of public sector positions have led to a gradual professionalization of the field. ","Consistent with those directions, the Society was in recent years directly involved in the creation of the position of Virginia Folklife Coordinator. A proposal to create such a position was submitted by VFS Executive Board members to the National Endowment for the Arts, Folks Arts Program, and the Virginia Commission for the Arts (VCA) in 1988. This venture, which was subsequently funded, was a cooperative one between NEA, VCA, and the Virginia Foundation for the Humanities (VFHPP). The Folklife Coordinator, Garry W. Barrow, hired in 1989 to develop and administer a statewide Virginia Folklife Program, working under the heading of the VFHPP in Charlottesville. Initially, the Virginia Folklore Society Executive Board acted in an advisory capacity to that program, along with representatives from VCA and VFHPP. The fact that the position was called the Virginia Folklife Coordinator was, in itself, a reflection of the changes, already suggested, that had been occurring in the field of folklore/folklore in the late 1960s to 1970s. ","Excerpted from http://faculty.virginia.edu/vafolk/archive.htm. ","Material transferred from the papers bequeathed to the Library by Arthur Kyle Davis.  By agreement with Charles Perdue, archivist of the Virginia Folklore Society, the material, which was originally collected for the society, is now to become the archives of the Society.  It is not to be withdrawn from the library by the Society.","Virginia Folklore Society records (1913-1967; 22.7 cubic feet) consist chiefly of songs collected by the society's fieldworkers in the 1930s under the direction of society archivist Arthur Kyle Davis.  Sheet music, folklore, newsletters and photographs are also included, as are recordings of many of the songs.","Regarding boxes 6-10 and 21-24: These boxes contain the correspondence of C.A. Smith and Arthur K. Davis dealing primarily with folksong and ballad collecting.  Some of this correspondence is with members of the Virginia Folklore Society and some to miscellaneous individuals who sent in material or had information and/or questions regarding folksongs. ","The recordings in this collection include a large collection of the recordings made by A. K. Davis, with the assistance of Fred Knobloch and other Virginia Folklore Society members/collectors on Fairchild aluminum transcription disks.  Davis divided the recordings into four groups: A (12 inch disks), B: (10 inch disks), C: (8 inch disks), D: 6 inch disks).","Please note, there are some song titles and lyrics that contain racially insensitive and/or culturally offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object.","Albert and Shirley Small Special Collections Library","Keesee, Abner, 1875-1956","Gladden, Texas, 1895-1966","Barker, Horton, 1889-1973","Morris, Victoria Shifflett","Peel, Alfreda Marion","MacAlexander, Eunice Yeatts, 1909-1990","Sears, Sis, 1888-1960","Hunt, John M., (Singer)","Lee, Charles Irving, 1874-1946","Barnard, Allie Wallace, 1909-2001","Palmer, George William, 1869-1936","Staples, Eleanor Louise, 1922-2012","Bean, Robert Bennett, 1874-1944","Eager, George Boardman, 1847-1929","Davis, Lambert, 1905-1993","Wicks, Carter, 1879-1950","Dold, W. E. (William Elliott)","Bibb, Rosa Lewis, 1906-1992","Hall, George Basil, 1863-1943","Gardner, Lena JoEllen, 1912-2004","Adams, Henry Ward, 1861-1944","Kinnier, Leta Adams, 1912-1963","French, Daisy Mae, 1904-1986","Wilson, Harry M. (Harry Minor), 1893-1981","Davis, Russell, 1904-1944","Ogg, Florence Belle, 1879-1954","Booker, Betty Burwell, 1875-1967","English"],"unitid_tesim":["MSS 9936","Archival Resource Key","/repositories/3/resources/779"],"normalized_title_ssm":["Virginia Folklore Society records"],"collection_title_tesim":["Virginia Folklore Society records"],"collection_ssim":["Virginia Folklore Society records"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"acqinfo_ssim":["Archival transfer from MSS 9829, the papers of Arthur Kyle Davis, 19 February 1974 comprise series one and two.  Series three, accession number Accession 2019-0235, donated by Marc Charles Perdue and Martin Clay Perdue."],"access_subjects_ssim":["clippings (information artifacts)","Black-and-white photographs","Notebooks"],"access_subjects_ssm":["clippings (information artifacts)","Black-and-white photographs","Notebooks"],"has_online_content_ssim":["true"],"extent_ssm":["22.7 Cubic Feet 26 document boxes, 10 cubic foot boxes"],"extent_tesim":["22.7 Cubic Feet 26 document boxes, 10 cubic foot boxes"],"genreform_ssim":["clippings (information artifacts)","Black-and-white photographs","Notebooks"],"date_range_isim":[1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eBoxes 27 and 28 do not circulate.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Boxes 27 and 28 do not circulate."],"arrangement_html_tesm":["\u003cp\u003eArranged into three series: Series 1: Folk Songs; Series 2: Folk Song recordings; Series 3: Accession 2019-0235\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Arranged into three series: Series 1: Folk Songs; Series 2: Folk Song recordings; Series 3: Accession 2019-0235"],"bioghist_html_tesm":["\u003cp\u003eThe broad outlines of change and growth in the study of folklore/folklife, however, is reflected on a small scale in the history of the Virginia Folklore Society and its three successive, but overlapping periods of development and achievement. These can be defined as: \"The Quest for the Ballad,\" \"The Arthur Kyle Davis, Jr. Years,\" and \"Folklore/Folklife: Professionalization of the Discipline.\" \u003c/p\u003e\n","\u003cp\u003eThe Quest for the Ballad: This era began with the founding of the Society by C. Alphonso Smith and is identified with his efforts and those of notable collectors, such as John Stone, Alfreda Peel, Martha Davis and Juliet Fauntleroy, as well as other teachers and members of the Virginia State Educational Association. In the first Bulletin of the Society in 1913, Smith made the pursuit of the ballad explicit and primary. Although he expressed interest in other types of folklore and acknowledged that \"[t]he ballad is not the whole of folklore,\" still this and all subsequent volumes of the Bulletin were devoted almost entirely to considerations of the ballad and its collection in Virginia (pp. 1-5). \u003c/p\u003e\n","\u003cp\u003eUnder C. Alphonso Smith's guidance as its first President and later as Vice-President and Archivist, early members of the Society concentrated on collecting oral versions of the classic English and Scottish ballads as defined by Francis James Child in his five volumes of The English and Scottish Popular Ballads, published between 1882 and 1898. In the Bulletin for the third annual meeting held November 26, 1915, Smith reported on progress toward the Society's goal of obtaining at least 50 Child ballads in the State and he thanked \"all those who have co-operated with us in the effort made to restore our lyric past, and to make it a part of our lyric present.\" \u003c/p\u003e\n","\u003cp\u003eBy 1920, Stone's expansive program had suffered from membership and revenue loss in the wake of World War I. In the Secretary-Treasurer's report for the \"Year Ending November 25, 1920,\" J. B. Ferneyhough noted that after paying $16.80 for paper and printing of the Bulletin, $.65 on envelopes for same, and $1.13 on postage to send them, the Society's balance in the Treasury was $.52. (Report for 1920, Bulletin, No. 8, p. 10). However, the Colonial Dames of America in the State of Virginia took an interest in the Society the following year and supported John Stone's \"ballad tours\" by donating $500 \"for the recapture of these priceless relics of colonial literature scattered through the State.\" The typescript of instructions written by C. Alphonso Smith to John Stone regarding the field work to be carried out with that support, as well as excerpts from Stone's meticulous accounts of expenditures including his final $.25 charge for shoe polish are of some historic interest in the annals of supported folklore research. Needless to say, the Society's Bulletin for 1921 was gratefully dedicated to the Colonial Dames of America. \u003c/p\u003e\n","\u003cp\u003eTwo figures, who were important in the later periods of the Society's history, appeared on the scene for the first time at the 10th annual meeting on November 30, 1923, again held at the John Marshall High School in Richmond. One of these persons was Benjamin C. Moomaw, Jr. of Barber, Virginia, who was elected Secretary-Treasurer of the Society. \u003c/p\u003e\n","\u003cp\u003eThe second individual was Arthur Kyle Davis, Jr. who was, at that time, an Instructor of English at the University of Virginia, where he remained throughout his lifetime. C. Alphonso Smith introduced Davis as the person who will \"publish our findings\" and wrote in the Bulletin that \"I shall turn over all of our ballads to him and he will select, reject, and edit as he thinks best.\" Davis was elected Archivist of the Society at that meeting. (Report for 1923, No. II). In June of 1924, Dr. C. Alphonso Smith died in Annapolis, Maryland. With his passing, the Virginia Folklore Society entered the second and longest phase of its history. \u003c/p\u003e\n","\u003cp\u003eThe Arthur Kyle Davis, Jr. Years: Meetings of the Society were held intermittently between 1924 and 1967, with both the purpose and organization of the Society becoming less clearly defined and apparent. There were periods of intensive collecting, recording and publishing, alternating with intervals of relative inactivity with regard to folklore. \u003c/p\u003e\n","\u003cp\u003eIn 1929, Arthur Kyle Davis, Jr. completed his initial work as editor and published 51 ballads collected under the auspices of the Society in Traditional Ballads in Virginia. Later, Davis wrote a series of articles for The University of Virginia News Letter (April 1, 1931; February 1, 1932; November 15, 1934; and March 1, 1935) describing the ongoing efforts of the Society and urging the further collection of ballads and folksongs. And many Society members did continue through time to actively collect folksongs or other folklore materials and to deposit the results in the Society's archive. \u003c/p\u003e\n","\u003cp\u003eBeginning in 1932, Davis recorded 325 aluminum disks of folksongs and ballads, many of which, had been previously collected from informants identified earlier in the Society's history. These recordings, which were made possible by a $1,000 grant to Davis and the Society from the American Council of Learned Societies, are among the earliest field recordings of Anglo-American folksong extant in this country. \u003c/p\u003e\n","\u003cp\u003eIn March of 1934 Davis was able to obtain some funding from the Civil Works Administration, one of the Depression-generated New Deal programs. With that assistance he hired John Stone to collect folksongs and Winston Wilkinson to transcribe music. The project only lasted three weeks, but in that short time Stone managed to add another 89 songs to the Society's archive. Davis also was able to employ University of Virginia student and Crozet native, Fred F. Knobloch, in the spring of 1935 through the student-aid provision of another New Deal agency, the Federal Emergency Relief program. \u003c/p\u003e\n","\u003cp\u003eIn addition, Arthur Kyle Davis, Jr. served at least one term as President of the Southeastern Folklore Society.  Its annual program held at the University of Virginia in April, 1941 included Virginia ballads and folksongs sung by one of Alfreda Peel's informants, Mrs. Texas Gladden of Roanoke County.\u003c/p\u003e\n","\u003cp\u003eIn 1949, Arthur Kyle Davis, Jr. edited and published Folk-Songs of Virginia: A Descriptive Index and Classification. Otherwise, Society activities appear to have been at their lowest ebb during World War II and for a number of years following. By the mid-1950s, however, Davis, with the help of students George Walton Williams, Matthew Joseph Bruccoli and Paul Clayton Worthington, pursued further collecting possibilities and began efforts to make taped copies of the earlier aluminum disk recordings. \u003c/p\u003e\n","\u003cp\u003eWith the assistance of the aforementioned students, Davis also published More Traditional Ballads of Virginia in 1960. In dedicating the book \"To the Memory of C. Alphonso Smith, Martha M. Davis, Juliet Fauntleroy, Alfreda M. Peel, and John Stone\", Davis gave symbolic recognition--even though belated in some cases--to the passage of an age and a generation in the history of both the Society and of ballad collecting in the old style and tradition. \u003c/p\u003e\n","\u003cp\u003eOn March 15, 1963, Arthur Kyle Davis, Jr. wrote another article for The University of Virginia News Letter titled, \"Folklore in Virginia: Its Collection and Study.\" Perhaps stimulated by the urban folksong revival that was underway nationwide, he stated, \"the time seems ripe to revive the Society and to set its course toward the assembling of the State's miscellaneous folklore.\" This article prompted a considerable response and receipt of folklore collectanea. With that renewed interest, the Society began again to have regular annual meetings in 1967 and folklore materials began coming into the Society's archive in greater volume. Davis had plans to expand Society activities, including the publication of a journal, and he had made preliminary steps in those directions. Those projects were left unrealized when Professor Arthur Kyle Davis, Jr. died in September, 1972. \u003c/p\u003e\n","\u003cp\u003eFolklore/Folklife: Professionalization of the Discipline: The third phase of the Virginia Folklore Society's history actually began prior to Davis's death, when the media influence from the urban folksong revival and the development of scholarly programs in Folklore at several universities combined both to attract and create a demand for persons trained in such a discipline. In part in response to those particular circumstances and in part due simply to serendipity, several such newly trained Folklore specialists came to work in Virginia and not unexpectedly, soon became involved with the Virginia Folklore Society. With a Ph.D. from the Folklore Progam at the University of Pennsylvania, Charles L. Perdue, Jr. came to teach Folklore courses in the University of Virginia's English Department in 1971 and later became jointly affiliated with both the English \u0026amp; Anthropology Departments there. Shortly thereafter J. Roderick Moore, with an M.A. in Folklore Studies from the Cooperstown Program in New York State, began working and teaching first at Mountain Empire Community College in Big Stone Gap, then at the Blue Ridge Institute of Ferrum College in Ferrum, Virginia. \u003c/p\u003e\n","\u003cp\u003eThe contact between Perdue, specifically, and Davis at the University with regard to the Society was obviously shortlived. Nevertheless, a collaborative effort to revitalize the Society shortly after Davis's death involved long-time members, Ben C. Moomaw, Jr., President; C. Alphonso Smith, Jr. and Virginia F. Jordan, Vice-Presidents; and Fred F. Knobloch, Secretary-Treasurer; along with Perdue and Moore, their wives Nancy J. Martin-Perdue and Elizabeth Moore, Thomas E. Barden, a former student of Davis's, and many others. \u003c/p\u003e\n","\u003cp\u003eThe decision was made to separate the Society from its former association with the Virginia Educational Association and to hold regular, annual meetings, independently, each Fall in Charlottesville, Virginia. These were begun in November, 1974, with occasional Spring meetings held in various regions of the State. In 1979 the Society began publication of an occasional journal, with this being the fourth volume in the series of Folklore and Folklife in Virginia. \u003c/p\u003e\n","\u003cp\u003eIn spite of its new face, the reorganized Society retained the stamp of an earlier era, which was manifested to a large degree through the personalities and interests of Ben C. Moomaw, Jr., who continued as president of the Society until his death in 1978, and Fred F. Knobloch, who retired as the Society's secretary-treasurer shortly before his death in 1981. \u003c/p\u003e\n","\u003cp\u003eThe changes that have taken place in the Virginia Folklore Society reflect changes that have occurred in the field of Folklore generally, and also in other similar disciplines nationally, since 1913. The expansion of definitions of folklore to include material culture; the establishment of graduate programs in Folklore at Indiana University, the Universities of Pennsylvania, Texas, and California at Los Angeles, and elsewhere; and the movement of folklorists, who were trained in those settings and who thus have a broader view of the discipline, into a wide range of public sector positions have led to a gradual professionalization of the field. \u003c/p\u003e\n","\u003cp\u003eConsistent with those directions, the Society was in recent years directly involved in the creation of the position of Virginia Folklife Coordinator. A proposal to create such a position was submitted by VFS Executive Board members to the National Endowment for the Arts, Folks Arts Program, and the Virginia Commission for the Arts (VCA) in 1988. This venture, which was subsequently funded, was a cooperative one between NEA, VCA, and the Virginia Foundation for the Humanities (VFHPP). The Folklife Coordinator, Garry W. Barrow, hired in 1989 to develop and administer a statewide Virginia Folklife Program, working under the heading of the VFHPP in Charlottesville. Initially, the Virginia Folklore Society Executive Board acted in an advisory capacity to that program, along with representatives from VCA and VFHPP. The fact that the position was called the Virginia Folklife Coordinator was, in itself, a reflection of the changes, already suggested, that had been occurring in the field of folklore/folklore in the late 1960s to 1970s. \u003c/p\u003e\n","\u003cp\u003eExcerpted from http://faculty.virginia.edu/vafolk/archive.htm. \u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["The broad outlines of change and growth in the study of folklore/folklife, however, is reflected on a small scale in the history of the Virginia Folklore Society and its three successive, but overlapping periods of development and achievement. These can be defined as: \"The Quest for the Ballad,\" \"The Arthur Kyle Davis, Jr. Years,\" and \"Folklore/Folklife: Professionalization of the Discipline.\" ","The Quest for the Ballad: This era began with the founding of the Society by C. Alphonso Smith and is identified with his efforts and those of notable collectors, such as John Stone, Alfreda Peel, Martha Davis and Juliet Fauntleroy, as well as other teachers and members of the Virginia State Educational Association. In the first Bulletin of the Society in 1913, Smith made the pursuit of the ballad explicit and primary. Although he expressed interest in other types of folklore and acknowledged that \"[t]he ballad is not the whole of folklore,\" still this and all subsequent volumes of the Bulletin were devoted almost entirely to considerations of the ballad and its collection in Virginia (pp. 1-5). ","Under C. Alphonso Smith's guidance as its first President and later as Vice-President and Archivist, early members of the Society concentrated on collecting oral versions of the classic English and Scottish ballads as defined by Francis James Child in his five volumes of The English and Scottish Popular Ballads, published between 1882 and 1898. In the Bulletin for the third annual meeting held November 26, 1915, Smith reported on progress toward the Society's goal of obtaining at least 50 Child ballads in the State and he thanked \"all those who have co-operated with us in the effort made to restore our lyric past, and to make it a part of our lyric present.\" ","By 1920, Stone's expansive program had suffered from membership and revenue loss in the wake of World War I. In the Secretary-Treasurer's report for the \"Year Ending November 25, 1920,\" J. B. Ferneyhough noted that after paying $16.80 for paper and printing of the Bulletin, $.65 on envelopes for same, and $1.13 on postage to send them, the Society's balance in the Treasury was $.52. (Report for 1920, Bulletin, No. 8, p. 10). However, the Colonial Dames of America in the State of Virginia took an interest in the Society the following year and supported John Stone's \"ballad tours\" by donating $500 \"for the recapture of these priceless relics of colonial literature scattered through the State.\" The typescript of instructions written by C. Alphonso Smith to John Stone regarding the field work to be carried out with that support, as well as excerpts from Stone's meticulous accounts of expenditures including his final $.25 charge for shoe polish are of some historic interest in the annals of supported folklore research. Needless to say, the Society's Bulletin for 1921 was gratefully dedicated to the Colonial Dames of America. ","Two figures, who were important in the later periods of the Society's history, appeared on the scene for the first time at the 10th annual meeting on November 30, 1923, again held at the John Marshall High School in Richmond. One of these persons was Benjamin C. Moomaw, Jr. of Barber, Virginia, who was elected Secretary-Treasurer of the Society. ","The second individual was Arthur Kyle Davis, Jr. who was, at that time, an Instructor of English at the University of Virginia, where he remained throughout his lifetime. C. Alphonso Smith introduced Davis as the person who will \"publish our findings\" and wrote in the Bulletin that \"I shall turn over all of our ballads to him and he will select, reject, and edit as he thinks best.\" Davis was elected Archivist of the Society at that meeting. (Report for 1923, No. II). In June of 1924, Dr. C. Alphonso Smith died in Annapolis, Maryland. With his passing, the Virginia Folklore Society entered the second and longest phase of its history. ","The Arthur Kyle Davis, Jr. Years: Meetings of the Society were held intermittently between 1924 and 1967, with both the purpose and organization of the Society becoming less clearly defined and apparent. There were periods of intensive collecting, recording and publishing, alternating with intervals of relative inactivity with regard to folklore. ","In 1929, Arthur Kyle Davis, Jr. completed his initial work as editor and published 51 ballads collected under the auspices of the Society in Traditional Ballads in Virginia. Later, Davis wrote a series of articles for The University of Virginia News Letter (April 1, 1931; February 1, 1932; November 15, 1934; and March 1, 1935) describing the ongoing efforts of the Society and urging the further collection of ballads and folksongs. And many Society members did continue through time to actively collect folksongs or other folklore materials and to deposit the results in the Society's archive. ","Beginning in 1932, Davis recorded 325 aluminum disks of folksongs and ballads, many of which, had been previously collected from informants identified earlier in the Society's history. These recordings, which were made possible by a $1,000 grant to Davis and the Society from the American Council of Learned Societies, are among the earliest field recordings of Anglo-American folksong extant in this country. ","In March of 1934 Davis was able to obtain some funding from the Civil Works Administration, one of the Depression-generated New Deal programs. With that assistance he hired John Stone to collect folksongs and Winston Wilkinson to transcribe music. The project only lasted three weeks, but in that short time Stone managed to add another 89 songs to the Society's archive. Davis also was able to employ University of Virginia student and Crozet native, Fred F. Knobloch, in the spring of 1935 through the student-aid provision of another New Deal agency, the Federal Emergency Relief program. ","In addition, Arthur Kyle Davis, Jr. served at least one term as President of the Southeastern Folklore Society.  Its annual program held at the University of Virginia in April, 1941 included Virginia ballads and folksongs sung by one of Alfreda Peel's informants, Mrs. Texas Gladden of Roanoke County.","In 1949, Arthur Kyle Davis, Jr. edited and published Folk-Songs of Virginia: A Descriptive Index and Classification. Otherwise, Society activities appear to have been at their lowest ebb during World War II and for a number of years following. By the mid-1950s, however, Davis, with the help of students George Walton Williams, Matthew Joseph Bruccoli and Paul Clayton Worthington, pursued further collecting possibilities and began efforts to make taped copies of the earlier aluminum disk recordings. ","With the assistance of the aforementioned students, Davis also published More Traditional Ballads of Virginia in 1960. In dedicating the book \"To the Memory of C. Alphonso Smith, Martha M. Davis, Juliet Fauntleroy, Alfreda M. Peel, and John Stone\", Davis gave symbolic recognition--even though belated in some cases--to the passage of an age and a generation in the history of both the Society and of ballad collecting in the old style and tradition. ","On March 15, 1963, Arthur Kyle Davis, Jr. wrote another article for The University of Virginia News Letter titled, \"Folklore in Virginia: Its Collection and Study.\" Perhaps stimulated by the urban folksong revival that was underway nationwide, he stated, \"the time seems ripe to revive the Society and to set its course toward the assembling of the State's miscellaneous folklore.\" This article prompted a considerable response and receipt of folklore collectanea. With that renewed interest, the Society began again to have regular annual meetings in 1967 and folklore materials began coming into the Society's archive in greater volume. Davis had plans to expand Society activities, including the publication of a journal, and he had made preliminary steps in those directions. Those projects were left unrealized when Professor Arthur Kyle Davis, Jr. died in September, 1972. ","Folklore/Folklife: Professionalization of the Discipline: The third phase of the Virginia Folklore Society's history actually began prior to Davis's death, when the media influence from the urban folksong revival and the development of scholarly programs in Folklore at several universities combined both to attract and create a demand for persons trained in such a discipline. In part in response to those particular circumstances and in part due simply to serendipity, several such newly trained Folklore specialists came to work in Virginia and not unexpectedly, soon became involved with the Virginia Folklore Society. With a Ph.D. from the Folklore Progam at the University of Pennsylvania, Charles L. Perdue, Jr. came to teach Folklore courses in the University of Virginia's English Department in 1971 and later became jointly affiliated with both the English \u0026 Anthropology Departments there. Shortly thereafter J. Roderick Moore, with an M.A. in Folklore Studies from the Cooperstown Program in New York State, began working and teaching first at Mountain Empire Community College in Big Stone Gap, then at the Blue Ridge Institute of Ferrum College in Ferrum, Virginia. ","The contact between Perdue, specifically, and Davis at the University with regard to the Society was obviously shortlived. Nevertheless, a collaborative effort to revitalize the Society shortly after Davis's death involved long-time members, Ben C. Moomaw, Jr., President; C. Alphonso Smith, Jr. and Virginia F. Jordan, Vice-Presidents; and Fred F. Knobloch, Secretary-Treasurer; along with Perdue and Moore, their wives Nancy J. Martin-Perdue and Elizabeth Moore, Thomas E. Barden, a former student of Davis's, and many others. ","The decision was made to separate the Society from its former association with the Virginia Educational Association and to hold regular, annual meetings, independently, each Fall in Charlottesville, Virginia. These were begun in November, 1974, with occasional Spring meetings held in various regions of the State. In 1979 the Society began publication of an occasional journal, with this being the fourth volume in the series of Folklore and Folklife in Virginia. ","In spite of its new face, the reorganized Society retained the stamp of an earlier era, which was manifested to a large degree through the personalities and interests of Ben C. Moomaw, Jr., who continued as president of the Society until his death in 1978, and Fred F. Knobloch, who retired as the Society's secretary-treasurer shortly before his death in 1981. ","The changes that have taken place in the Virginia Folklore Society reflect changes that have occurred in the field of Folklore generally, and also in other similar disciplines nationally, since 1913. The expansion of definitions of folklore to include material culture; the establishment of graduate programs in Folklore at Indiana University, the Universities of Pennsylvania, Texas, and California at Los Angeles, and elsewhere; and the movement of folklorists, who were trained in those settings and who thus have a broader view of the discipline, into a wide range of public sector positions have led to a gradual professionalization of the field. ","Consistent with those directions, the Society was in recent years directly involved in the creation of the position of Virginia Folklife Coordinator. A proposal to create such a position was submitted by VFS Executive Board members to the National Endowment for the Arts, Folks Arts Program, and the Virginia Commission for the Arts (VCA) in 1988. This venture, which was subsequently funded, was a cooperative one between NEA, VCA, and the Virginia Foundation for the Humanities (VFHPP). The Folklife Coordinator, Garry W. Barrow, hired in 1989 to develop and administer a statewide Virginia Folklife Program, working under the heading of the VFHPP in Charlottesville. Initially, the Virginia Folklore Society Executive Board acted in an advisory capacity to that program, along with representatives from VCA and VFHPP. The fact that the position was called the Virginia Folklife Coordinator was, in itself, a reflection of the changes, already suggested, that had been occurring in the field of folklore/folklore in the late 1960s to 1970s. ","Excerpted from http://faculty.virginia.edu/vafolk/archive.htm. "],"custodhist_html_tesm":["\u003cp\u003eMaterial transferred from the papers bequeathed to the Library by Arthur Kyle Davis.  By agreement with Charles Perdue, archivist of the Virginia Folklore Society, the material, which was originally collected for the society, is now to become the archives of the Society.  It is not to be withdrawn from the library by the Society.\u003c/p\u003e"],"custodhist_heading_ssm":["Custodial History"],"custodhist_tesim":["Material transferred from the papers bequeathed to the Library by Arthur Kyle Davis.  By agreement with Charles Perdue, archivist of the Virginia Folklore Society, the material, which was originally collected for the society, is now to become the archives of the Society.  It is not to be withdrawn from the library by the Society."],"scopecontent_html_tesm":["\u003cp\u003eVirginia Folklore Society records (1913-1967; 22.7 cubic feet) consist chiefly of songs collected by the society's fieldworkers in the 1930s under the direction of society archivist Arthur Kyle Davis.  Sheet music, folklore, newsletters and photographs are also included, as are recordings of many of the songs.\u003c/p\u003e\n","\u003cp\u003eRegarding boxes 6-10 and 21-24: These boxes contain the correspondence of C.A. Smith and Arthur K. Davis dealing primarily with folksong and ballad collecting.  Some of this correspondence is with members of the Virginia Folklore Society and some to miscellaneous individuals who sent in material or had information and/or questions regarding folksongs. \u003c/p\u003e\n","\u003cp\u003eThe recordings in this collection include a large collection of the recordings made by A. K. Davis, with the assistance of Fred Knobloch and other Virginia Folklore Society members/collectors on Fairchild aluminum transcription disks.  Davis divided the recordings into four groups: A (12 inch disks), B: (10 inch disks), C: (8 inch disks), D: 6 inch disks).\u003c/p\u003e\n","\u003cp\u003ePlease note, there are some song titles and lyrics that contain racially insensitive and/or culturally offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Virginia Folklore Society records (1913-1967; 22.7 cubic feet) consist chiefly of songs collected by the society's fieldworkers in the 1930s under the direction of society archivist Arthur Kyle Davis.  Sheet music, folklore, newsletters and photographs are also included, as are recordings of many of the songs.","Regarding boxes 6-10 and 21-24: These boxes contain the correspondence of C.A. Smith and Arthur K. Davis dealing primarily with folksong and ballad collecting.  Some of this correspondence is with members of the Virginia Folklore Society and some to miscellaneous individuals who sent in material or had information and/or questions regarding folksongs. ","The recordings in this collection include a large collection of the recordings made by A. K. Davis, with the assistance of Fred Knobloch and other Virginia Folklore Society members/collectors on Fairchild aluminum transcription disks.  Davis divided the recordings into four groups: A (12 inch disks), B: (10 inch disks), C: (8 inch disks), D: 6 inch disks).","Please note, there are some song titles and lyrics that contain racially insensitive and/or culturally offensive language. In an effort to represent the resource as accurately as possible, library staff have transcribed the title exactly as it appears on the archival material or object."],"names_ssim":["Albert and Shirley Small Special Collections Library","Keesee, Abner, 1875-1956","Gladden, Texas, 1895-1966","Barker, Horton, 1889-1973","Morris, Victoria Shifflett","Peel, Alfreda Marion","MacAlexander, Eunice Yeatts, 1909-1990","Sears, Sis, 1888-1960","Hunt, John M., (Singer)","Lee, Charles Irving, 1874-1946","Barnard, Allie Wallace, 1909-2001","Palmer, George William, 1869-1936","Staples, Eleanor Louise, 1922-2012","Bean, Robert Bennett, 1874-1944","Eager, George Boardman, 1847-1929","Davis, Lambert, 1905-1993","Wicks, Carter, 1879-1950","Dold, W. E. (William Elliott)","Bibb, Rosa Lewis, 1906-1992","Hall, George Basil, 1863-1943","Gardner, Lena JoEllen, 1912-2004","Adams, Henry Ward, 1861-1944","Kinnier, Leta Adams, 1912-1963","French, Daisy Mae, 1904-1986","Wilson, Harry M. (Harry Minor), 1893-1981","Davis, Russell, 1904-1944","Ogg, Florence Belle, 1879-1954","Booker, Betty Burwell, 1875-1967"],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Keesee, Abner, 1875-1956","Gladden, Texas, 1895-1966","Barker, Horton, 1889-1973","Morris, Victoria Shifflett","Peel, Alfreda Marion","MacAlexander, Eunice Yeatts, 1909-1990","Sears, Sis, 1888-1960","Hunt, John M., (Singer)","Lee, Charles Irving, 1874-1946","Barnard, Allie Wallace, 1909-2001","Palmer, George William, 1869-1936","Staples, Eleanor Louise, 1922-2012","Bean, Robert Bennett, 1874-1944","Eager, George Boardman, 1847-1929","Davis, Lambert, 1905-1993","Wicks, Carter, 1879-1950","Dold, W. E. (William Elliott)","Bibb, Rosa Lewis, 1906-1992","Hall, George Basil, 1863-1943","Gardner, Lena JoEllen, 1912-2004","Adams, Henry Ward, 1861-1944","Kinnier, Leta Adams, 1912-1963","French, Daisy Mae, 1904-1986","Wilson, Harry M. (Harry Minor), 1893-1981","Davis, Russell, 1904-1944","Ogg, Florence Belle, 1879-1954","Booker, Betty Burwell, 1875-1967"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":210,"online_item_count_is":173,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T22:47:53.526Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_779_c02_c15"}},{"id":"vifgm_ftpphoto_c01_c20","type":"File","attributes":{"title":"Ah, Wilderness (Los Angeles, California),","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c20#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_ftpphoto_c01_c20","ref_ssm":["vifgm_ftpphoto_c01_c20"],"id":"vifgm_ftpphoto_c01_c20","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto_c01","parent_ssi":"vifgm_ftpphoto_c01","parent_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01"],"parent_ids_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01"],"parent_unittitles_ssm":["Federal Theatre Project photograph collection","Series 1: Production Photographs,"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection","Series 1: Production Photographs,"],"text":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (Los Angeles, California),","Box 1","Folder 20"],"title_filing_ssi":"Ah, Wilderness (Los Angeles, California),","title_ssm":["Ah, Wilderness (Los Angeles, California),"],"title_tesim":["Ah, Wilderness (Los Angeles, California),"],"unitdate_other_ssim":["1930s"],"normalized_title_ssm":["Ah, Wilderness (Los Angeles, California),"],"component_level_isim":[2],"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection"],"has_online_content_ssim":["true"],"child_component_count_isi":1,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":21,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"containers_ssim":["Box 1","Folder 20"],"_nest_path_":"/components#0/components#19","timestamp":"2026-05-01T00:58:02.027Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_ftpphoto","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto","ead_source_url_ssi":"data/gmu/ftpphoto.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/ftpphoto.html","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205"],"text":["C0205","Federal Theatre Project photograph collection","Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits.","There are no access restrictions.","The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.","Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)","English\n\t\t"],"unitid_tesim":["C0205"],"normalized_title_ssm":["Federal Theatre Project photograph collection"],"collection_title_tesim":["Federal Theatre Project photograph collection"],"collection_ssim":["Federal Theatre Project photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"access_subjects_ssm":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"has_online_content_ssim":["true"],"extent_ssm":["47.0 linear feet (112 boxes)"],"extent_tesim":["47.0 linear feet (112 boxes)"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"FTP digital collection\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/ftpp/ftpp.shtml\"\u003e\u003c/extptr\u003e. There are photographs from this collection and other FTP collections in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"Federal Theatre Project collection\" href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\"\u003e\u003c/extptr\u003e There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2653\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3845,"online_item_count_is":48,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:58:02.027Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c20"}},{"id":"vifgm_ftpphoto_c01_c26","type":"File","attributes":{"title":"Ah, Wilderness (New Orleans, Louisiana),","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c26#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_ftpphoto_c01_c26","ref_ssm":["vifgm_ftpphoto_c01_c26"],"id":"vifgm_ftpphoto_c01_c26","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto_c01","parent_ssi":"vifgm_ftpphoto_c01","parent_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01"],"parent_ids_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01"],"parent_unittitles_ssm":["Federal Theatre Project photograph collection","Series 1: Production Photographs,"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection","Series 1: Production Photographs,"],"text":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (New Orleans, Louisiana),","Box 1","Folder 26"],"title_filing_ssi":"Ah, Wilderness (New Orleans, Louisiana),","title_ssm":["Ah, Wilderness (New Orleans, Louisiana),"],"title_tesim":["Ah, Wilderness (New Orleans, Louisiana),"],"unitdate_other_ssim":["June 3, 1938"],"normalized_date_ssm":["1938"],"normalized_title_ssm":["Ah, Wilderness (New Orleans, Louisiana),"],"component_level_isim":[2],"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection"],"has_online_content_ssim":["true"],"child_component_count_isi":3,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":29,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"date_range_isim":[1938],"containers_ssim":["Box 1","Folder 26"],"_nest_path_":"/components#0/components#25","timestamp":"2026-05-01T00:58:02.027Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_ftpphoto","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto","ead_source_url_ssi":"data/gmu/ftpphoto.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/ftpphoto.html","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205"],"text":["C0205","Federal Theatre Project photograph collection","Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits.","There are no access restrictions.","The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.","Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)","English\n\t\t"],"unitid_tesim":["C0205"],"normalized_title_ssm":["Federal Theatre Project photograph collection"],"collection_title_tesim":["Federal Theatre Project photograph collection"],"collection_ssim":["Federal Theatre Project photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"access_subjects_ssm":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"has_online_content_ssim":["true"],"extent_ssm":["47.0 linear feet (112 boxes)"],"extent_tesim":["47.0 linear feet (112 boxes)"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"FTP digital collection\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/ftpp/ftpp.shtml\"\u003e\u003c/extptr\u003e. There are photographs from this collection and other FTP collections in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"Federal Theatre Project collection\" href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\"\u003e\u003c/extptr\u003e There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2653\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3845,"online_item_count_is":48,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:58:02.027Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c26"}},{"id":"vifgm_ftpphoto_c01_c20_c01","type":"Item","attributes":{"title":"Ah, Wilderness production photograph,","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c20_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_ftpphoto_c01_c20_c01","ref_ssm":["vifgm_ftpphoto_c01_c20_c01"],"id":"vifgm_ftpphoto_c01_c20_c01","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto_c01_c20","parent_ssi":"vifgm_ftpphoto_c01_c20","parent_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01","vifgm_ftpphoto_c01_c20"],"parent_ids_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01","vifgm_ftpphoto_c01_c20"],"parent_unittitles_ssm":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (Los Angeles, California),"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (Los Angeles, California),"],"text":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (Los Angeles, California),","Ah, Wilderness production photograph,",""],"title_filing_ssi":"Ah, Wilderness production photograph,","title_ssm":["Ah, Wilderness production photograph,"],"title_tesim":["Ah, Wilderness production photograph,"],"unitdate_other_ssim":["1938"],"normalized_date_ssm":["1938"],"normalized_title_ssm":["Ah, Wilderness production photograph,"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":22,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"digital_objects_ssm":["{\"label\":\"Ah, Wilderness production photograph\",\"href\":\"http://images.gmu.edu/luna/servlet/s/m745j4\"}"],"date_range_isim":[1938],"language_ssim":[""],"_nest_path_":"/components#0/components#19/components#0","timestamp":"2026-05-01T00:58:02.027Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_ftpphoto","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto","ead_source_url_ssi":"data/gmu/ftpphoto.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/ftpphoto.html","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205"],"text":["C0205","Federal Theatre Project photograph collection","Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits.","There are no access restrictions.","The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.","Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)","English\n\t\t"],"unitid_tesim":["C0205"],"normalized_title_ssm":["Federal Theatre Project photograph collection"],"collection_title_tesim":["Federal Theatre Project photograph collection"],"collection_ssim":["Federal Theatre Project photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"access_subjects_ssm":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"has_online_content_ssim":["true"],"extent_ssm":["47.0 linear feet (112 boxes)"],"extent_tesim":["47.0 linear feet (112 boxes)"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"FTP digital collection\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/ftpp/ftpp.shtml\"\u003e\u003c/extptr\u003e. There are photographs from this collection and other FTP collections in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"Federal Theatre Project collection\" href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\"\u003e\u003c/extptr\u003e There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2653\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3845,"online_item_count_is":48,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:58:02.027Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c20_c01"}},{"id":"vifgm_ftpphoto_c01_c22_c01","type":"Item","attributes":{"title":"Ah, Wilderness production photograph,","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c22_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_ftpphoto_c01_c22_c01","ref_ssm":["vifgm_ftpphoto_c01_c22_c01"],"id":"vifgm_ftpphoto_c01_c22_c01","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto_c01_c22","parent_ssi":"vifgm_ftpphoto_c01_c22","parent_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01","vifgm_ftpphoto_c01_c22"],"parent_ids_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01","vifgm_ftpphoto_c01_c22"],"parent_unittitles_ssm":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (San Diego, California),"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (San Diego, California),"],"text":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (San Diego, California),","Ah, Wilderness production photograph,"],"title_filing_ssi":"Ah, Wilderness production photograph,","title_ssm":["Ah, Wilderness production photograph,"],"title_tesim":["Ah, Wilderness production photograph,"],"unitdate_other_ssim":["January 24, 1938"],"normalized_date_ssm":["1938"],"normalized_title_ssm":["Ah, Wilderness production photograph,"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":25,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"digital_objects_ssm":["{\"label\":\"Ah, Wilderness production photograph\",\"href\":\"http://images.gmu.edu/luna/servlet/s/y2kyjq\"}"],"date_range_isim":[1938],"_nest_path_":"/components#0/components#21/components#0","timestamp":"2026-05-01T00:58:02.027Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_ftpphoto","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto","ead_source_url_ssi":"data/gmu/ftpphoto.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/ftpphoto.html","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205"],"text":["C0205","Federal Theatre Project photograph collection","Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits.","There are no access restrictions.","The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.","Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)","English\n\t\t"],"unitid_tesim":["C0205"],"normalized_title_ssm":["Federal Theatre Project photograph collection"],"collection_title_tesim":["Federal Theatre Project photograph collection"],"collection_ssim":["Federal Theatre Project photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"access_subjects_ssm":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"has_online_content_ssim":["true"],"extent_ssm":["47.0 linear feet (112 boxes)"],"extent_tesim":["47.0 linear feet (112 boxes)"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"FTP digital collection\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/ftpp/ftpp.shtml\"\u003e\u003c/extptr\u003e. There are photographs from this collection and other FTP collections in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"Federal Theatre Project collection\" href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\"\u003e\u003c/extptr\u003e There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2653\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3845,"online_item_count_is":48,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:58:02.027Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c22_c01"}},{"id":"vifgm_ftpphoto_c01_c26_c01","type":"Item","attributes":{"title":"Ah, Wilderness production photograph","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c26_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_ftpphoto_c01_c26_c01","ref_ssm":["vifgm_ftpphoto_c01_c26_c01"],"id":"vifgm_ftpphoto_c01_c26_c01","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto_c01_c26","parent_ssi":"vifgm_ftpphoto_c01_c26","parent_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01","vifgm_ftpphoto_c01_c26"],"parent_ids_ssim":["vifgm_ftpphoto","vifgm_ftpphoto_c01","vifgm_ftpphoto_c01_c26"],"parent_unittitles_ssm":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (New Orleans, Louisiana),"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (New Orleans, Louisiana),"],"text":["Federal Theatre Project photograph collection","Series 1: Production Photographs,","Ah, Wilderness (New Orleans, Louisiana),","Ah, Wilderness production photograph"],"title_filing_ssi":"Ah, Wilderness production photograph","title_ssm":["Ah, Wilderness production photograph"],"title_tesim":["Ah, Wilderness production photograph"],"unitdate_other_ssim":["June 3, 1938"],"normalized_date_ssm":["1938"],"normalized_title_ssm":["Ah, Wilderness production photograph"],"component_level_isim":[3],"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection"],"has_online_content_ssim":["true"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":30,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"digital_objects_ssm":["{\"label\":\"Ah, Wilderness production photograph\",\"href\":\"http://images.gmu.edu/luna/servlet/s/2231bq\"}"],"date_range_isim":[1938],"_nest_path_":"/components#0/components#25/components#0","timestamp":"2026-05-01T00:58:02.027Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_ftpphoto","ead_ssi":"vifgm_ftpphoto","_root_":"vifgm_ftpphoto","_nest_parent_":"vifgm_ftpphoto","ead_source_url_ssi":"data/gmu/ftpphoto.xml","aspace_url_ssi":"http://sca.gmu.edu/finding_aids/ftpphoto.html","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205"],"text":["C0205","Federal Theatre Project photograph collection","Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits.","There are no access restrictions.","The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.","Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)","English\n\t\t"],"unitid_tesim":["C0205"],"normalized_title_ssm":["Federal Theatre Project photograph collection"],"collection_title_tesim":["Federal Theatre Project photograph collection"],"collection_ssim":["Federal Theatre Project photograph collection"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["Federal Theatre Project (U.S.)"],"creators_ssim":["Federal Theatre Project (U.S.)"],"access_terms_ssm":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"access_subjects_ssm":["Actors--Photographs.","Theatre--New York--New York.","Negatives.","Photographs.","Portraits."],"has_online_content_ssim":["true"],"extent_ssm":["47.0 linear feet (112 boxes)"],"extent_tesim":["47.0 linear feet (112 boxes)"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"FTP digital collection\" href=\"http://www.aladin0.wrlc.org/gsdl/collect/ftpp/ftpp.shtml\"\u003e\u003c/extptr\u003e. There are photographs from this collection and other FTP collections in the \n                \u003cextptr type=\"simple\" show=\"new\" title=\"Federal Theatre Project collection\" href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\"\u003e\u003c/extptr\u003e There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e"],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the \n                 . There are photographs from this collection and other FTP collections in the \n                  There are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e","\u003clist type=\"ordered\"\u003e\n        \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n        \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n      \u003c/list\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series 1: Production Photographs, 1936-1939 Series 2: Oversize Production Photographs,1936-1939 Series 3: Portraits, 1936-1939 Series 4: Microfiche, 1936-1939 Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e"],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression. Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries.\u003c/p\u003e"],"prefercite_tesim":["Federal Theatre Project Photographs, C0205, Special Collections and Archives, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections and Archives holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThere are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["There are no restrictions on personal use. Permission to publish material from the Federal Theatre Project Photographs collection must be obtained from Special Collections Research Center, George Mason University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"ref2653\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e"],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"names_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"corpname_ssim":["George Mason University. Libraries. Special Collections \u0026 Archives","Federal Theatre Project (U.S.)"],"language_ssim":["English\n\t\t"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3845,"online_item_count_is":48,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-01T00:58:02.027Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_ftpphoto_c01_c26_c01"}}],"included":[{"type":"facet","id":"repository_ssim","attributes":{"label":"Repository","items":[{"attributes":{"label":"George Mason University","value":"George Mason University","hits":864},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Brepository%5D%5B%5D=George+Mason+University\u0026view=compact"}},{"attributes":{"label":"Library of Virginia","value":"Library of Virginia","hits":639},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Brepository%5D%5B%5D=Library+of+Virginia\u0026view=compact"}},{"attributes":{"label":"Longwood University","value":"Longwood University","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Brepository%5D%5B%5D=Longwood+University\u0026view=compact"}},{"attributes":{"label":"The George Washington Presidential Library at Mount Vernon","value":"The George Washington Presidential Library at Mount Vernon","hits":650},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Brepository%5D%5B%5D=The+George+Washington+Presidential+Library+at+Mount+Vernon\u0026view=compact"}},{"attributes":{"label":"University of Mary Washington","value":"University of Mary Washington","hits":37},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Brepository%5D%5B%5D=University+of+Mary+Washington\u0026view=compact"}},{"attributes":{"label":"University of Virginia, Special Collections Dept.","value":"University of Virginia, Special Collections Dept.","hits":3410},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Brepository%5D%5B%5D=University+of+Virginia%2C+Special+Collections+Dept.\u0026view=compact"}},{"attributes":{"label":"Virginia Commonwealth University, Cabell Library","value":"Virginia Commonwealth University, Cabell Library","hits":43},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Brepository%5D%5B%5D=Virginia+Commonwealth+University%2C+Cabell+Library\u0026view=compact"}},{"attributes":{"label":"Virginia Museum of Fine Arts","value":"Virginia Museum of Fine Arts","hits":5},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Brepository%5D%5B%5D=Virginia+Museum+of+Fine+Arts\u0026view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/repository_ssim.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"facet","id":"collection_ssim","attributes":{"label":"Collection","items":[{"attributes":{"label":"\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection","value":"\"Scenes from Behind the Wall: Images of East Germany, 1989/90\" exhibit collection","hits":55},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=%22Scenes+from+Behind+the+Wall%3A+Images+of+East+Germany%2C+1989%2F90%22+exhibit+collection\u0026view=compact"}},{"attributes":{"label":"1828 Catalogue Project digital image collection","value":"1828 Catalogue Project digital image collection","hits":236},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=1828+Catalogue+Project+digital+image+collection\u0026view=compact"}},{"attributes":{"label":"Abisha Ruckman Gum letters, \n 1861-1869","value":"Abisha Ruckman Gum letters, \n 1861-1869","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=Abisha+Ruckman+Gum+letters%2C+%0A+1861-1869\u0026view=compact"}},{"attributes":{"label":"American Rhododendron Society Records","value":"American Rhododendron Society Records","hits":2},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=American+Rhododendron+Society+Records\u0026view=compact"}},{"attributes":{"label":"André Kertész photographs","value":"André Kertész photographs","hits":4},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=Andr%C3%A9+Kert%C3%A9sz+photographs\u0026view=compact"}},{"attributes":{"label":"Anna Maria Hickman Otis Mead Chalmers family papers","value":"Anna Maria Hickman Otis Mead Chalmers family papers","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=Anna+Maria+Hickman+Otis+Mead+Chalmers+family+papers\u0026view=compact"}},{"attributes":{"label":"Annual Reports (PB-02)","value":"Annual Reports (PB-02)","hits":5},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=Annual+Reports+%28PB-02%29\u0026view=compact"}},{"attributes":{"label":"Arnold Sundgaard papers","value":"Arnold Sundgaard papers","hits":8},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=Arnold+Sundgaard+papers\u0026view=compact"}},{"attributes":{"label":"Barrister records","value":"Barrister records","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=Barrister+records\u0026view=compact"}},{"attributes":{"label":"Beebe collection of Washington family papers","value":"Beebe collection of Washington family papers","hits":18},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=Beebe+collection+of+Washington+family+papers\u0026view=compact"}},{"attributes":{"label":"Betsy Brinson collection of AIDS epidemic exhibit materials, \n 1998, 2016-2017","value":"Betsy Brinson collection of AIDS epidemic exhibit materials, \n 1998, 2016-2017","hits":18},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcollection%5D%5B%5D=Betsy+Brinson+collection+of+AIDS+epidemic+exhibit+materials%2C+%0A+1998%2C+2016-2017\u0026view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/collection_ssim.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"facet","id":"date_range_isim","attributes":{"label":"Date range","items":[{"attributes":{"label":"1500","value":"1500","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1500\u0026view=compact"}},{"attributes":{"label":"1534","value":"1534","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1534\u0026view=compact"}},{"attributes":{"label":"1568","value":"1568","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1568\u0026view=compact"}},{"attributes":{"label":"1576","value":"1576","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1576\u0026view=compact"}},{"attributes":{"label":"1579","value":"1579","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1579\u0026view=compact"}},{"attributes":{"label":"1580","value":"1580","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1580\u0026view=compact"}},{"attributes":{"label":"1581","value":"1581","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1581\u0026view=compact"}},{"attributes":{"label":"1582","value":"1582","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1582\u0026view=compact"}},{"attributes":{"label":"1583","value":"1583","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1583\u0026view=compact"}},{"attributes":{"label":"1584","value":"1584","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1584\u0026view=compact"}},{"attributes":{"label":"1585","value":"1585","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bdate_range%5D%5B%5D=1585\u0026view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/date_range_isim.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"facet","id":"creator_ssim","attributes":{"label":"Creator","items":[{"attributes":{"label":"","value":"","hits":2},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=\u0026view=compact"}},{"attributes":{"label":"Abbey, J. R. (John Roland), 1896-1969","value":"Abbey, J. R. (John Roland), 1896-1969","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Abbey%2C+J.+R.+%28John+Roland%29%2C+1896-1969\u0026view=compact"}},{"attributes":{"label":"Abisha Ruckman Gum\n","value":"Abisha Ruckman Gum\n","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Abisha+Ruckman+Gum%0A\u0026view=compact"}},{"attributes":{"label":"Adams, Henry Ward, 1861-1944","value":"Adams, Henry Ward, 1861-1944","hits":2},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Adams%2C+Henry+Ward%2C+1861-1944\u0026view=compact"}},{"attributes":{"label":"Adams, John, 1735-1826","value":"Adams, John, 1735-1826","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Adams%2C+John%2C+1735-1826\u0026view=compact"}},{"attributes":{"label":"Addis, R. W. (Robert W.), -1874","value":"Addis, R. W. (Robert W.), -1874","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Addis%2C+R.+W.+%28Robert+W.%29%2C+-1874\u0026view=compact"}},{"attributes":{"label":"Alexander, Hannah Lee Washington, 1811-1881","value":"Alexander, Hannah Lee Washington, 1811-1881","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Alexander%2C+Hannah+Lee+Washington%2C+1811-1881\u0026view=compact"}},{"attributes":{"label":"American Rhododendron Society","value":"American Rhododendron Society","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=American+Rhododendron+Society\u0026view=compact"}},{"attributes":{"label":"Barker, Horton, 1889-1973","value":"Barker, Horton, 1889-1973","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Barker%2C+Horton%2C+1889-1973\u0026view=compact"}},{"attributes":{"label":"Barnard, Allie Wallace, 1909-2001","value":"Barnard, Allie Wallace, 1909-2001","hits":2},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Barnard%2C+Allie+Wallace%2C+1909-2001\u0026view=compact"}},{"attributes":{"label":"Bartlett, Josiah, 1729-1795","value":"Bartlett, Josiah, 1729-1795","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bcreators%5D%5B%5D=Bartlett%2C+Josiah%2C+1729-1795\u0026view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/creator_ssim.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"facet","id":"names_ssim","attributes":{"label":"Names","items":[{"attributes":{"label":"Aaron Quinby","value":"Aaron Quinby","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Aaron+Quinby\u0026view=compact"}},{"attributes":{"label":"Abbey, J. R. (John Roland), 1896-1969","value":"Abbey, J. R. (John Roland), 1896-1969","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Abbey%2C+J.+R.+%28John+Roland%29%2C+1896-1969\u0026view=compact"}},{"attributes":{"label":"Adams, Henry Ward, 1861-1944","value":"Adams, Henry Ward, 1861-1944","hits":4},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Adams%2C+Henry+Ward%2C+1861-1944\u0026view=compact"}},{"attributes":{"label":"Adams, John, 1735-1826","value":"Adams, John, 1735-1826","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Adams%2C+John%2C+1735-1826\u0026view=compact"}},{"attributes":{"label":"Addis, R. W. (Robert W.), -1874","value":"Addis, R. W. (Robert W.), -1874","hits":3},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Addis%2C+R.+W.+%28Robert+W.%29%2C+-1874\u0026view=compact"}},{"attributes":{"label":"Albert and Shirley Small Special Collections Library","value":"Albert and Shirley Small Special Collections Library","hits":44},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Albert+and+Shirley+Small+Special+Collections+Library\u0026view=compact"}},{"attributes":{"label":"Alexander, Anna Maria Washington, 1817-1850","value":"Alexander, Anna Maria Washington, 1817-1850","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Alexander%2C+Anna+Maria+Washington%2C+1817-1850\u0026view=compact"}},{"attributes":{"label":"Alexander, Hannah Lee Washington, 1811-1881","value":"Alexander, Hannah Lee Washington, 1811-1881","hits":2},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Alexander%2C+Hannah+Lee+Washington%2C+1811-1881\u0026view=compact"}},{"attributes":{"label":"Alexander, Judith Ball Blackburn, 1796-1866","value":"Alexander, Judith Ball Blackburn, 1796-1866","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Alexander%2C+Judith+Ball+Blackburn%2C+1796-1866\u0026view=compact"}},{"attributes":{"label":"Alexander, William Fontaine, 1811-1862","value":"Alexander, William Fontaine, 1811-1862","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=Alexander%2C+William+Fontaine%2C+1811-1862\u0026view=compact"}},{"attributes":{"label":"American Rhododendron Society","value":"American Rhododendron Society","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bnames%5D%5B%5D=American+Rhododendron+Society\u0026view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/names_ssim.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"facet","id":"geogname_ssim","attributes":{"label":"Places","items":[{"attributes":{"label":"Bloomery (W. Va.)","value":"Bloomery (W. Va.)","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Bloomery+%28W.+Va.%29\u0026view=compact"}},{"attributes":{"label":"Charlottesville (Va.) -- 1970-1980","value":"Charlottesville (Va.) -- 1970-1980","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Charlottesville+%28Va.%29+--+1970-1980\u0026view=compact"}},{"attributes":{"label":"Charlottesville (Va.) -- Buildings, structures, etc.","value":"Charlottesville (Va.) -- Buildings, structures, etc.","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Charlottesville+%28Va.%29+--+Buildings%2C+structures%2C+etc.\u0026view=compact"}},{"attributes":{"label":"Charlottesville (Va.) -- History","value":"Charlottesville (Va.) -- History","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Charlottesville+%28Va.%29+--+History\u0026view=compact"}},{"attributes":{"label":"Charlottesville (Va.) -- History -- 19th Century","value":"Charlottesville (Va.) -- History -- 19th Century","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Charlottesville+%28Va.%29+--+History+--+19th+Century\u0026view=compact"}},{"attributes":{"label":"Edinburgh (Scotland) -- History","value":"Edinburgh (Scotland) -- History","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Edinburgh+%28Scotland%29+--+History\u0026view=compact"}},{"attributes":{"label":"Enslaved persons--Social conditions","value":"Enslaved persons--Social conditions","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Enslaved+persons--Social+conditions\u0026view=compact"}},{"attributes":{"label":"Enslavers","value":"Enslavers","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Enslavers\u0026view=compact"}},{"attributes":{"label":"Fairfax (Va.)","value":"Fairfax (Va.)","hits":2},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Fairfax+%28Va.%29\u0026view=compact"}},{"attributes":{"label":"Fairfax (Va.) -- Politics and government","value":"Fairfax (Va.) -- Politics and government","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Fairfax+%28Va.%29+--+Politics+and+government\u0026view=compact"}},{"attributes":{"label":"Fairfax County (Va.)","value":"Fairfax County (Va.)","hits":4},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Bplaces%5D%5B%5D=Fairfax+County+%28Va.%29\u0026view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/geogname_ssim.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"facet","id":"access_subjects_ssim","attributes":{"label":"Subjects","items":[{"attributes":{"label":"Actors--Photographs.","value":"Actors--Photographs.","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=Actors--Photographs.\u0026view=compact"}},{"attributes":{"label":"African American families","value":"African American families","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=African+American+families\u0026view=compact"}},{"attributes":{"label":"African American students","value":"African American students","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=African+American+students\u0026view=compact"}},{"attributes":{"label":"African Americans -- Civil rights","value":"African Americans -- Civil rights","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=African+Americans+--+Civil+rights\u0026view=compact"}},{"attributes":{"label":"African Americans -- Civil rights.","value":"African Americans -- Civil rights.","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=African+Americans+--+Civil+rights.\u0026view=compact"}},{"attributes":{"label":"African Americans -- Virginia","value":"African Americans -- Virginia","hits":2},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=African+Americans+--+Virginia\u0026view=compact"}},{"attributes":{"label":"African Americans--Virginia--Reston.","value":"African Americans--Virginia--Reston.","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=African+Americans--Virginia--Reston.\u0026view=compact"}},{"attributes":{"label":"Albumen prints","value":"Albumen prints","hits":42},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=Albumen+prints\u0026view=compact"}},{"attributes":{"label":"Anniversaries","value":"Anniversaries","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=Anniversaries\u0026view=compact"}},{"attributes":{"label":"Architects -- Virginia.","value":"Architects -- Virginia.","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=Architects+--+Virginia.\u0026view=compact"}},{"attributes":{"label":"Architecture -- Virginia","value":"Architecture -- Virginia","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Baccess_subjects%5D%5B%5D=Architecture+--+Virginia\u0026view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/access_subjects_ssim.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"facet","id":"level_ssim","attributes":{"label":"Level","items":[{"attributes":{"label":"Collection","value":"Collection","hits":115},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=Collection\u0026view=compact"}},{"attributes":{"label":"File","value":"File","hits":1769},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=File\u0026view=compact"}},{"attributes":{"label":"Item","value":"Item","hits":3172},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=Item\u0026view=compact"}},{"attributes":{"label":"Record Group","value":"Record Group","hits":1},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=Record+Group\u0026view=compact"}},{"attributes":{"label":"Section","value":"Section","hits":454},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=Section\u0026view=compact"}},{"attributes":{"label":"Section ","value":"Section ","hits":4},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=Section+\u0026view=compact"}},{"attributes":{"label":"Series","value":"Series","hits":119},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=Series\u0026view=compact"}},{"attributes":{"label":"Subseries","value":"Subseries","hits":24},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026f%5Blevel%5D%5B%5D=Subseries\u0026view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/level_ssim.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"facet","id":"access","attributes":{"label":"Access","items":[{"attributes":{"label":"Online access","value":"online","hits":5651},"links":{"remove":"https://search.arvasarchive.org/catalog.json?view=compact"}}]},"links":{"self":"https://search.arvasarchive.org/catalog/facet/access.json?f%5Baccess%5D%5B%5D=online\u0026view=compact"}},{"type":"search_field","id":"all_fields","attributes":{"label":"All Fields"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026search_field=all_fields\u0026view=compact"}},{"type":"search_field","id":"keyword","attributes":{"label":"Keyword"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026search_field=keyword\u0026view=compact"}},{"type":"search_field","id":"name","attributes":{"label":"Name"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026search_field=name\u0026view=compact"}},{"type":"search_field","id":"place","attributes":{"label":"Place"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026search_field=place\u0026view=compact"}},{"type":"search_field","id":"subject","attributes":{"label":"Subject"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026search_field=subject\u0026view=compact"}},{"type":"search_field","id":"title","attributes":{"label":"Title"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026search_field=title\u0026view=compact"}},{"type":"search_field","id":"container","attributes":{"label":"Container"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026search_field=container\u0026view=compact"}},{"type":"search_field","id":"identifier","attributes":{"label":"Identifier"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026search_field=identifier\u0026view=compact"}},{"type":"sort","id":"score desc, title_sort asc","attributes":{"label":"relevance"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026sort=score+desc%2C+title_sort+asc\u0026view=compact"}},{"type":"sort","id":"date_sort asc","attributes":{"label":"date (ascending)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026sort=date_sort+asc\u0026view=compact"}},{"type":"sort","id":"date_sort desc","attributes":{"label":"date (descending)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026sort=date_sort+desc\u0026view=compact"}},{"type":"sort","id":"creator_sort asc","attributes":{"label":"creator (A-Z)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026sort=creator_sort+asc\u0026view=compact"}},{"type":"sort","id":"creator_sort desc","attributes":{"label":"creator (Z-A)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026sort=creator_sort+desc\u0026view=compact"}},{"type":"sort","id":"title_sort asc","attributes":{"label":"title (A-Z)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026sort=title_sort+asc\u0026view=compact"}},{"type":"sort","id":"title_sort desc","attributes":{"label":"title (Z-A)"},"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess%5D%5B%5D=online\u0026page=9\u0026sort=title_sort+desc\u0026view=compact"}}]}