{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026page=9\u0026view=compact","prev":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026page=8\u0026view=compact","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=African+Americans\u0026page=9\u0026view=compact"},"meta":{"pages":{"current_page":9,"next_page":null,"prev_page":8,"total_pages":9,"limit_value":10,"offset_value":80,"total_count":86,"first_page?":false,"last_page?":true}},"data":[{"id":"viu_repositories_3_resources_1552","type":"collection","attributes":{"title":"Two African American women tintype, 1865/1900","creator":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1552#creator","type":"document_value","attributes":{"value":"Max Rambod","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1552#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures 2.5 X 3.5 \". \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1552#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1552","ead_ssi":"viu_repositories_3_resources_1552","_root_":"viu_repositories_3_resources_1552","_nest_parent_":"viu_repositories_3_resources_1552","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1552.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190887","title_filing_ssi":"Two African American women tintype","title_ssm":["Two African American women tintype"],"title_tesim":["Two African American women tintype"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"normalized_date_ssm":["1865/1900"],"normalized_title_ssm":["Two African American women tintype, 1865/1900"],"text":["Two African American women tintype, 1865/1900","MSS 16796","Archival Resource Key","/repositories/3/resources/1552","African Americans","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image.","This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Two African American women tintype, 1865/1900"],"collection_ssim":["Two African American women tintype, 1865/1900"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"unitid_tesim":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on  01 March 2023."],"access_subjects_ssim":["African Americans","tintypes (prints)"],"access_subjects_ssm":["African Americans","tintypes (prints)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One letter-sized folder"],"extent_tesim":["0.03 Cubic Feet One letter-sized folder"],"genreform_ssim":["tintypes (prints)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003e\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.\u003c/p\u003e","\u003cp\u003eTintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image."],"prefercite_html_tesm":["\u003cp\u003eMSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". \u003c/p\u003e","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viu_repositories_3_resources_1552","ead_ssi":"viu_repositories_3_resources_1552","_root_":"viu_repositories_3_resources_1552","_nest_parent_":"viu_repositories_3_resources_1552","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1552.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/190887","title_filing_ssi":"Two African American women tintype","title_ssm":["Two African American women tintype"],"title_tesim":["Two African American women tintype"],"unitdate_ssm":["c. 1865-1900"],"unitdate_bulk_ssim":["c. 1865-1900"],"normalized_date_ssm":["1865/1900"],"normalized_title_ssm":["Two African American women tintype, 1865/1900"],"text":["Two African American women tintype, 1865/1900","MSS 16796","Archival Resource Key","/repositories/3/resources/1552","African Americans","tintypes (prints)","The collection is open for research use.","\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image.","This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century.","Albert and Shirley Small Special Collections Library","Max Rambod","English"],"collection_title_tesim":["Two African American women tintype, 1865/1900"],"collection_ssim":["Two African American women tintype, 1865/1900"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"unitid_tesim":["MSS 16796","Archival Resource Key","/repositories/3/resources/1552"],"repository_ssm":["University of Virginia, Special Collections Dept."],"repository_ssim":["University of Virginia, Special Collections Dept."],"creator_ssm":["Max Rambod"],"creator_ssim":["Max Rambod"],"creator_corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"creators_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"acqinfo_ssim":["This collection was purchased from Max Rambod, Inc. by the Small Special Collections Library at the University of Virginia Library on  01 March 2023."],"access_subjects_ssim":["African Americans","tintypes (prints)"],"access_subjects_ssm":["African Americans","tintypes (prints)"],"has_online_content_ssim":["false"],"extent_ssm":["0.03 Cubic Feet One letter-sized folder"],"extent_tesim":["0.03 Cubic Feet One letter-sized folder"],"genreform_ssim":["tintypes (prints)"],"date_range_isim":[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],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003e\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)\u003c/p\u003e","\u003cp\u003e\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)\u003c/p\u003e","\u003cp\u003eSources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change\u003c/p\u003e","\u003cp\u003e\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/\u003c/p\u003e","\u003cp\u003eTintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.\u003c/p\u003e","\u003cp\u003eTintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["\"African Americans' engagement with photography in the 19th century began a tradition for Black photographers' use of photography today to promote social change. African Americans, whether they are in front or behind the camera, create empowering images that define the beauty and resilience contained within the Black experience.\" (1)","\"To pose for a photograph became an empowering act for African Americans. It served as a way to counteract racist caricatures that distort facial features and mocked Black society. African Americans in urban and rural settings participated in photography to demonstrate dignity in the Black experience.\" (1)","\"For African Americans in particular, photographic portraits offered a means of self-representation and empowerment. The abolitionist Frederick Douglass—who was himself the most photographed man of the 19th century—consistently championed the medium for its capacity to affirm the humanity and dignity of its sitters and challenge dehumanizing, racist stereotypes. Other Black Americans, including native Virginian James Presley Ball (1825–1904), practiced and shaped the medium from its earliest years.\" (2)","Sources:\n\"How Black people in the 19th century used photography as a tool for social change\"\nhttps://www.si.umich.edu/about-umsi/news/how-black-people-19th-century-used-photography-tool-social-change","\"A Powerful Influence: Early Photographs of African Americans from the Collection of Dennis O. Williams\" Virginia Museum of Fine Arts. Dr. Sarah Kennel, curator. November 19, 2022- June 15 2023.\nhttps://vmfa.museum/exhibitions/exhibitions/powerful-influence-early-photographs-african-americans-collection-dennis-o-williams/","Tintypes were portable, cheap, and fast to make. They came onto the scene in 1853 and were used through 1930. Photographers could easily sell their services at fairs or travel to battlefields. Some of the most common subjects were Civil War fields and soldiers, who would send photos home to loved ones.","Tintype creates a photographic image on a thin sheet of metal or iron that has been coated with a dark lacquer or enamel.The metal plates are coated with chemicals, exposed to light in a camera, and processed with additional chemistry. This creates an underexposed negative image. When that negative is placed on a dark background, the transparent areas appear black, which makes the plate look like a positive image."],"prefercite_html_tesm":["\u003cp\u003eMSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16796, Two African American women tintype, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \". \u003c/p\u003e","\u003cp\u003eThe tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century. \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection features an undated tintype photograph of two unidentified African American women dressed in Victorian-style dresses and hats. One of the women holds a bouquet that drapes over a bridge made of branches that the two figures are posed on in a photography studio. It measures  2.5 X 3.5 \".","The tintype was invented in 1855, one decade before the emancipation of all enslaved African Americans across the United States. The medium of the photograph and the women's dress roughly dates this to the mid-to-late nineteenth century."],"corpname_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"names_coll_ssim":["Max Rambod"],"names_ssim":["Albert and Shirley Small Special Collections Library","Max Rambod"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1552"}},{"id":"viw_repositories_2_resources_9570","type":"collection","attributes":{"title":"United Klans of America collection, 1971/1975","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9570#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eContent warning: The United Klans of America (UKA) Collection contains racist, sexist and homophobic imagery, language and content. The materials have been processed and made accesible for fair use and research purposes. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9570#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viw_repositories_2_resources_9570","ead_ssi":"viw_repositories_2_resources_9570","_root_":"viw_repositories_2_resources_9570","_nest_parent_":"viw_repositories_2_resources_9570","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9570.xml","title_filing_ssi":"United Klans of America Collection","title_ssm":["United Klans of America collection"],"title_tesim":["United Klans of America collection"],"unitdate_ssm":["1971-1975"],"unitdate_inclusive_ssm":["1971-1975"],"normalized_date_ssm":["1971/1975"],"normalized_title_ssm":["United Klans of America collection, 1971/1975"],"text":["United Klans of America collection, 1971/1975","SC 01719","/repositories/2/resources/9570","16th Street Baptist Church Bombing, Birmingham, Ala., 1963","African Americans","Communism--United States","Lynching--United States--History","Race discrimination","Race relations--United States--History--20th century","Racism","The collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","The United Klans oF America (UKA) was founded in Indian Springs, Georgia on July 8, 1961 after the merger of multiple Ku Klux Klan groups. Headquarted in Tuscaloosa, Alabama, Robert Shelton, was the leader of the UKA from 1961-1987. UKA chapters existed throughout the United States including a Virginia Chapter headed by Grand Dragon Robert H. Hudgins. The UKA is linked to the 1963 16th Street Baptist Church bombing in Birmingham, Alabama,that killed four girls, the 1965 murder of Civil Rights Activist Viola Liuzzo, and the lynching of teenager Michael Donald in Mobile, Alabama in 1981. A wrongful death suit was filed on behalf of Beulah Mae Donald, the mother of Michael Donald, by Morris Dees, founder of the Southern Poverty Law Center. In 1987, the UKA was sentenced to pay 7 million dollars in damages. The UKA became bankrupt from the suit and was forced to sell the Tuscaloosa, Alabama headquarters of which Beulah Mae Donald received $51,875.The United Klans of America Collection contains reports, newsletters such as the \"Fiery Cross\" and pamphlets that were dispersed throughout the Tidewater region of Virginia.","The collection received file level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection.","Content warning: The United Klans of America (UKA) Collection contains racist, sexist and homophobic imagery, language and content. The materials have been processed and made accesible for fair use and research purposes.","The collection contains pamphlets, brochures, newsletters such as the \"Fiery Cross,\" a Klan passport, items from Klan \"neighborhood packets,\" and other UKA propaganda materials. A majority of the content originates from Virginia chapters of the United Klans of America (UKA).","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["United Klans of America collection, 1971/1975"],"collection_ssim":["United Klans of America collection, 1971/1975"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01719","/repositories/2/resources/9570"],"unitid_tesim":["SC 01719","/repositories/2/resources/9570"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased with the Francis Randolph Howard Fund."],"access_subjects_ssim":["16th Street Baptist Church Bombing, Birmingham, Ala., 1963","African Americans","Communism--United States","Lynching--United States--History","Race discrimination","Race relations--United States--History--20th century","Racism"],"access_subjects_ssm":["16th Street Baptist Church Bombing, Birmingham, Ala., 1963","African Americans","Communism--United States","Lynching--United States--History","Race discrimination","Race relations--United States--History--20th century","Racism"],"has_online_content_ssim":["false"],"extent_ssm":["1 Folder"],"extent_tesim":["1 Folder"],"date_range_isim":[1971,1972,1973,1974,1975],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eThe United Klans oF America (UKA) was founded in Indian Springs, Georgia on July 8, 1961 after the merger of multiple Ku Klux Klan groups. Headquarted in Tuscaloosa, Alabama, Robert Shelton, was the leader of the UKA from 1961-1987. UKA chapters existed throughout the United States including a Virginia Chapter headed by Grand Dragon Robert H. Hudgins. The UKA is linked to the 1963 16th Street Baptist Church bombing in Birmingham, Alabama,that killed four girls, the 1965 murder of Civil Rights Activist Viola Liuzzo, and the lynching of teenager Michael Donald in Mobile, Alabama in 1981. A wrongful death suit was filed on behalf of Beulah Mae Donald, the mother of Michael Donald, by Morris Dees, founder of the Southern Poverty Law Center. In 1987, the UKA was sentenced to pay 7 million dollars in damages. The UKA became bankrupt from the suit and was forced to sell the Tuscaloosa, Alabama headquarters of which Beulah Mae Donald received $51,875.The United Klans of America Collection contains reports, newsletters such as the \"Fiery Cross\" and pamphlets that were dispersed throughout the Tidewater region of Virginia.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The United Klans oF America (UKA) was founded in Indian Springs, Georgia on July 8, 1961 after the merger of multiple Ku Klux Klan groups. Headquarted in Tuscaloosa, Alabama, Robert Shelton, was the leader of the UKA from 1961-1987. UKA chapters existed throughout the United States including a Virginia Chapter headed by Grand Dragon Robert H. Hudgins. The UKA is linked to the 1963 16th Street Baptist Church bombing in Birmingham, Alabama,that killed four girls, the 1965 murder of Civil Rights Activist Viola Liuzzo, and the lynching of teenager Michael Donald in Mobile, Alabama in 1981. A wrongful death suit was filed on behalf of Beulah Mae Donald, the mother of Michael Donald, by Morris Dees, founder of the Southern Poverty Law Center. In 1987, the UKA was sentenced to pay 7 million dollars in damages. The UKA became bankrupt from the suit and was forced to sell the Tuscaloosa, Alabama headquarters of which Beulah Mae Donald received $51,875.The United Klans of America Collection contains reports, newsletters such as the \"Fiery Cross\" and pamphlets that were dispersed throughout the Tidewater region of Virginia."],"prefercite_html_tesm":["\u003cp\u003eUnited Klans of American Collection, Special Collections and Research Center, William and Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["United Klans of American Collection, Special Collections and Research Center, William and Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe collection received file level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The collection received file level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eContent warning: The United Klans of America (UKA) Collection contains racist, sexist and homophobic imagery, language and content. The materials have been processed and made accesible for fair use and research purposes. \u003c/p\u003e","\u003cp\u003eThe collection contains pamphlets, brochures, newsletters such as the \"Fiery Cross,\" a Klan passport, items from Klan \"neighborhood packets,\" and other UKA propaganda materials. A majority of the content originates from Virginia chapters of the United Klans of America (UKA). \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["Content warning: The United Klans of America (UKA) Collection contains racist, sexist and homophobic imagery, language and content. The materials have been processed and made accesible for fair use and research purposes.","The collection contains pamphlets, brochures, newsletters such as the \"Fiery Cross,\" a Klan passport, items from Klan \"neighborhood packets,\" and other UKA propaganda materials. A majority of the content originates from Virginia chapters of the United Klans of America (UKA)."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:49:58.131Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9570","ead_ssi":"viw_repositories_2_resources_9570","_root_":"viw_repositories_2_resources_9570","_nest_parent_":"viw_repositories_2_resources_9570","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9570.xml","title_filing_ssi":"United Klans of America Collection","title_ssm":["United Klans of America collection"],"title_tesim":["United Klans of America collection"],"unitdate_ssm":["1971-1975"],"unitdate_inclusive_ssm":["1971-1975"],"normalized_date_ssm":["1971/1975"],"normalized_title_ssm":["United Klans of America collection, 1971/1975"],"text":["United Klans of America collection, 1971/1975","SC 01719","/repositories/2/resources/9570","16th Street Baptist Church Bombing, Birmingham, Ala., 1963","African Americans","Communism--United States","Lynching--United States--History","Race discrimination","Race relations--United States--History--20th century","Racism","The collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","The United Klans oF America (UKA) was founded in Indian Springs, Georgia on July 8, 1961 after the merger of multiple Ku Klux Klan groups. Headquarted in Tuscaloosa, Alabama, Robert Shelton, was the leader of the UKA from 1961-1987. UKA chapters existed throughout the United States including a Virginia Chapter headed by Grand Dragon Robert H. Hudgins. The UKA is linked to the 1963 16th Street Baptist Church bombing in Birmingham, Alabama,that killed four girls, the 1965 murder of Civil Rights Activist Viola Liuzzo, and the lynching of teenager Michael Donald in Mobile, Alabama in 1981. A wrongful death suit was filed on behalf of Beulah Mae Donald, the mother of Michael Donald, by Morris Dees, founder of the Southern Poverty Law Center. In 1987, the UKA was sentenced to pay 7 million dollars in damages. The UKA became bankrupt from the suit and was forced to sell the Tuscaloosa, Alabama headquarters of which Beulah Mae Donald received $51,875.The United Klans of America Collection contains reports, newsletters such as the \"Fiery Cross\" and pamphlets that were dispersed throughout the Tidewater region of Virginia.","The collection received file level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection.","Content warning: The United Klans of America (UKA) Collection contains racist, sexist and homophobic imagery, language and content. The materials have been processed and made accesible for fair use and research purposes.","The collection contains pamphlets, brochures, newsletters such as the \"Fiery Cross,\" a Klan passport, items from Klan \"neighborhood packets,\" and other UKA propaganda materials. A majority of the content originates from Virginia chapters of the United Klans of America (UKA).","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["United Klans of America collection, 1971/1975"],"collection_ssim":["United Klans of America collection, 1971/1975"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["SC 01719","/repositories/2/resources/9570"],"unitid_tesim":["SC 01719","/repositories/2/resources/9570"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased with the Francis Randolph Howard Fund."],"access_subjects_ssim":["16th Street Baptist Church Bombing, Birmingham, Ala., 1963","African Americans","Communism--United States","Lynching--United States--History","Race discrimination","Race relations--United States--History--20th century","Racism"],"access_subjects_ssm":["16th Street Baptist Church Bombing, Birmingham, Ala., 1963","African Americans","Communism--United States","Lynching--United States--History","Race discrimination","Race relations--United States--History--20th century","Racism"],"has_online_content_ssim":["false"],"extent_ssm":["1 Folder"],"extent_tesim":["1 Folder"],"date_range_isim":[1971,1972,1973,1974,1975],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"bioghist_html_tesm":["\u003cp\u003eThe United Klans oF America (UKA) was founded in Indian Springs, Georgia on July 8, 1961 after the merger of multiple Ku Klux Klan groups. Headquarted in Tuscaloosa, Alabama, Robert Shelton, was the leader of the UKA from 1961-1987. UKA chapters existed throughout the United States including a Virginia Chapter headed by Grand Dragon Robert H. Hudgins. The UKA is linked to the 1963 16th Street Baptist Church bombing in Birmingham, Alabama,that killed four girls, the 1965 murder of Civil Rights Activist Viola Liuzzo, and the lynching of teenager Michael Donald in Mobile, Alabama in 1981. A wrongful death suit was filed on behalf of Beulah Mae Donald, the mother of Michael Donald, by Morris Dees, founder of the Southern Poverty Law Center. In 1987, the UKA was sentenced to pay 7 million dollars in damages. The UKA became bankrupt from the suit and was forced to sell the Tuscaloosa, Alabama headquarters of which Beulah Mae Donald received $51,875.The United Klans of America Collection contains reports, newsletters such as the \"Fiery Cross\" and pamphlets that were dispersed throughout the Tidewater region of Virginia.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The United Klans oF America (UKA) was founded in Indian Springs, Georgia on July 8, 1961 after the merger of multiple Ku Klux Klan groups. Headquarted in Tuscaloosa, Alabama, Robert Shelton, was the leader of the UKA from 1961-1987. UKA chapters existed throughout the United States including a Virginia Chapter headed by Grand Dragon Robert H. Hudgins. The UKA is linked to the 1963 16th Street Baptist Church bombing in Birmingham, Alabama,that killed four girls, the 1965 murder of Civil Rights Activist Viola Liuzzo, and the lynching of teenager Michael Donald in Mobile, Alabama in 1981. A wrongful death suit was filed on behalf of Beulah Mae Donald, the mother of Michael Donald, by Morris Dees, founder of the Southern Poverty Law Center. In 1987, the UKA was sentenced to pay 7 million dollars in damages. The UKA became bankrupt from the suit and was forced to sell the Tuscaloosa, Alabama headquarters of which Beulah Mae Donald received $51,875.The United Klans of America Collection contains reports, newsletters such as the \"Fiery Cross\" and pamphlets that were dispersed throughout the Tidewater region of Virginia."],"prefercite_html_tesm":["\u003cp\u003eUnited Klans of American Collection, Special Collections and Research Center, William and Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["United Klans of American Collection, Special Collections and Research Center, William and Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe collection received file level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The collection received file level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eContent warning: The United Klans of America (UKA) Collection contains racist, sexist and homophobic imagery, language and content. The materials have been processed and made accesible for fair use and research purposes. \u003c/p\u003e","\u003cp\u003eThe collection contains pamphlets, brochures, newsletters such as the \"Fiery Cross,\" a Klan passport, items from Klan \"neighborhood packets,\" and other UKA propaganda materials. A majority of the content originates from Virginia chapters of the United Klans of America (UKA). \u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["Content warning: The United Klans of America (UKA) Collection contains racist, sexist and homophobic imagery, language and content. The materials have been processed and made accesible for fair use and research purposes.","The collection contains pamphlets, brochures, newsletters such as the \"Fiery Cross,\" a Klan passport, items from Klan \"neighborhood packets,\" and other UKA propaganda materials. A majority of the content originates from Virginia chapters of the United Klans of America (UKA)."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:49:58.131Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9570"}},{"id":"vifgm_repositories_2_resources_724","type":"collection","attributes":{"title":"United Negro and Allied Veterans of America pamphlet, 1946","creator":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_724#creator","type":"document_value","attributes":{"value":"United Negro and Allied Veterans of America","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_724#abstract_or_scope","type":"document_value","attributes":{"value":"Small illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA).","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_724#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifgm_repositories_2_resources_724","ead_ssi":"vifgm_repositories_2_resources_724","_root_":"vifgm_repositories_2_resources_724","_nest_parent_":"vifgm_repositories_2_resources_724","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_724.xml","title_filing_ssi":"United Negro and Allied Veterans of America pamphlet","title_ssm":["United Negro and Allied Veterans of America pamphlet"],"title_tesim":["United Negro and Allied Veterans of America pamphlet"],"unitdate_ssm":["circa 1946"],"unitdate_other_ssim":["circa 1946"],"normalized_date_ssm":["1946"],"normalized_title_ssm":["United Negro and Allied Veterans of America pamphlet, 1946"],"text":["United Negro and Allied Veterans of America pamphlet, 1946","C0436","/repositories/2/resources/724","African Americans","African Americans -- Civil rights -- History -- 20th century","Pamphlets","Social justice","African American veterans","Veterans","There are no access restrictions.","This is a single item collection.","Herbold, Hilary. 1994. \"Never a Level Playing Field: Blacks and the GI Bill.\" The Journal of Blacks in Higher Education, no. 6, 104–8. https://doi.org/10.2307/2962479.","Sipe, Richard. 2016. \"The Death Knell for Jim Crow: How African-American Soldiers' Experiences Abroad Impacted the Modern Civil Rights Movement.\" MAD-RUSH Undergraduate Research Conference, March. https://commons.lib.jmu.edu/madrush/2016/InternationalDiplomacy/3.","The United Negro and Allied Veterans Association (also known as UNAVA) was organized by African American soldiers upon their return to the United States following World War II circa 1945-1946. The organization was in part formed in response to the refusal of the Veterans Administration to grant the claims of African American veterans or provide the same access to the G.I. Bill benefits as white veterans. Membership in UNAVA was aimed at both African American veterans and white veterans who had served with African Americans in desegregated units. The organization of UNAVA, like the NAACP, represented an early development in the formal Civil Rights movement of the 1950s-1960s.","Processing completed by Meghan Glasbrenner in September 2024. Finding aid completed by Meghan Glasbrenner in October 2024.","The Special Collections Research Center also holds the Philip Levy civil rights collection.","Small illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA). Cover includes an illustrated portrait of Honorary National Commander Joe Louis and a quote attributed to Louis reading \"Is America going to fulfill its promises to us? We say America must! That is why we are organizing.\" Pamphlet is small, measuring approximately 5.25\" x 4\" and consists of 16 pages of text and black and white illustrations. The last two interior pages include blank forms to be used to become a member of UNAVA and to form a local chapter if none already exists. The back cover includes a blank form to be used to forward the pamphlet to another veteran. Pamphlet originally included a UNAVA eagle pin that is missing.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Small illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA).","R 71, C 1, S 6","George Mason University. Libraries. Special Collections Research Center","United Negro and Allied Veterans of America","English\n."],"collection_title_tesim":["United Negro and Allied Veterans of America pamphlet, 1946"],"collection_ssim":["United Negro and Allied Veterans of America pamphlet, 1946"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0436","/repositories/2/resources/724"],"unitid_tesim":["C0436","/repositories/2/resources/724"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["United Negro and Allied Veterans of America"],"creator_ssim":["United Negro and Allied Veterans of America"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","United Negro and Allied Veterans of America"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","United Negro and Allied Veterans of America"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Purchased from Caroliniana Rare Books by Lynn Eaton in 2022."],"access_subjects_ssim":["African Americans","African Americans -- Civil rights -- History -- 20th century","Pamphlets","Social justice","African American veterans","Veterans"],"access_subjects_ssm":["African Americans","African Americans -- Civil rights -- History -- 20th century","Pamphlets","Social justice","African American veterans","Veterans"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 1 folder"],"extent_tesim":[".01 Linear Feet 1 folder"],"date_range_isim":[1946],"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\u003eThis is a single item collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003eHerbold, Hilary. 1994. \"Never a Level Playing Field: Blacks and the GI Bill.\" \u003ctitle\u003eThe Journal of Blacks in Higher Education\u003c/title\u003e, no. 6, 104–8. https://doi.org/10.2307/2962479.\u003c/p\u003e","\u003cp\u003eSipe, Richard. 2016. \"The Death Knell for Jim Crow: How African-American Soldiers' Experiences Abroad Impacted the Modern Civil Rights Movement.\" \u003ctitle\u003eMAD-RUSH Undergraduate Research Conference\u003c/title\u003e, March. https://commons.lib.jmu.edu/madrush/2016/InternationalDiplomacy/3.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Herbold, Hilary. 1994. \"Never a Level Playing Field: Blacks and the GI Bill.\" The Journal of Blacks in Higher Education, no. 6, 104–8. https://doi.org/10.2307/2962479.","Sipe, Richard. 2016. \"The Death Knell for Jim Crow: How African-American Soldiers' Experiences Abroad Impacted the Modern Civil Rights Movement.\" MAD-RUSH Undergraduate Research Conference, March. https://commons.lib.jmu.edu/madrush/2016/InternationalDiplomacy/3."],"bioghist_html_tesm":["\u003cp\u003eThe United Negro and Allied Veterans Association (also known as UNAVA) was organized by African American soldiers upon their return to the United States following World War II circa 1945-1946. The organization was in part formed in response to the refusal of the Veterans Administration to grant the claims of African American veterans or provide the same access to the G.I. Bill benefits as white veterans. Membership in UNAVA was aimed at both African American veterans and white veterans who had served with African Americans in desegregated units. The organization of UNAVA, like the NAACP, represented an early development in the formal Civil Rights movement of the 1950s-1960s.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Information"],"bioghist_tesim":["The United Negro and Allied Veterans Association (also known as UNAVA) was organized by African American soldiers upon their return to the United States following World War II circa 1945-1946. The organization was in part formed in response to the refusal of the Veterans Administration to grant the claims of African American veterans or provide the same access to the G.I. Bill benefits as white veterans. Membership in UNAVA was aimed at both African American veterans and white veterans who had served with African Americans in desegregated units. The organization of UNAVA, like the NAACP, represented an early development in the formal Civil Rights movement of the 1950s-1960s."],"prefercite_html_tesm":["\u003cp\u003eUnited Negro and Allied Veterans of America pamphlet, C0436, Special Collections Research Center, George Mason University Libraries\u003c/p\u003e  "],"prefercite_tesim":["United Negro and Allied Veterans of America pamphlet, C0436, Special Collections Research Center, George Mason University Libraries"],"processinfo_html_tesm":["\u003cp\u003eProcessing completed by Meghan Glasbrenner in September 2024. Finding aid completed by Meghan Glasbrenner in October 2024.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processing completed by Meghan Glasbrenner in September 2024. Finding aid completed by Meghan Glasbrenner in October 2024."],"relatedmaterial_html_tesm":["\u003cp\u003eThe Special Collections Research Center also holds the \u003ca href=\"https://aspace.gmu.edu/resources/c0121\"\u003ePhilip Levy civil rights collection\u003c/a\u003e.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["The Special Collections Research Center also holds the Philip Levy civil rights collection."],"scopecontent_html_tesm":["\u003cp\u003eSmall illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA). Cover includes an illustrated portrait of Honorary National Commander Joe Louis and a quote attributed to Louis reading \"Is America going to fulfill its promises to us? We say America must! That is why we are organizing.\" Pamphlet is small, measuring approximately 5.25\" x 4\" and consists of 16 pages of text and black and white illustrations. 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The last two interior pages include blank forms to be used to become a member of UNAVA and to form a local chapter if none already exists. The back cover includes a blank form to be used to forward the pamphlet to another veteran. Pamphlet originally included a UNAVA eagle pin that is missing."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_5e1f46b1506e86425eeb0378fced6fe1\"\u003eSmall illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA).\u003c/abstract\u003e\n    "],"abstract_tesim":["Small illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA)."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e55344e70f1f2a027d91a0d571ecd5cb\"\u003eR 71, C 1, S 6\u003c/physloc\u003e\n    "],"physloc_tesim":["R 71, C 1, S 6"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","United Negro and Allied Veterans of America"],"names_ssim":["George Mason University. Libraries. 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The organization was in part formed in response to the refusal of the Veterans Administration to grant the claims of African American veterans or provide the same access to the G.I. Bill benefits as white veterans. Membership in UNAVA was aimed at both African American veterans and white veterans who had served with African Americans in desegregated units. The organization of UNAVA, like the NAACP, represented an early development in the formal Civil Rights movement of the 1950s-1960s.","Processing completed by Meghan Glasbrenner in September 2024. Finding aid completed by Meghan Glasbrenner in October 2024.","The Special Collections Research Center also holds the Philip Levy civil rights collection.","Small illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA). Cover includes an illustrated portrait of Honorary National Commander Joe Louis and a quote attributed to Louis reading \"Is America going to fulfill its promises to us? We say America must! That is why we are organizing.\" Pamphlet is small, measuring approximately 5.25\" x 4\" and consists of 16 pages of text and black and white illustrations. The last two interior pages include blank forms to be used to become a member of UNAVA and to form a local chapter if none already exists. The back cover includes a blank form to be used to forward the pamphlet to another veteran. Pamphlet originally included a UNAVA eagle pin that is missing.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","Small illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA).","R 71, C 1, S 6","George Mason University. Libraries. 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Special Collections Research Center","United Negro and Allied Veterans of America"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Purchased from Caroliniana Rare Books by Lynn Eaton in 2022."],"access_subjects_ssim":["African Americans","African Americans -- Civil rights -- History -- 20th century","Pamphlets","Social justice","African American veterans","Veterans"],"access_subjects_ssm":["African Americans","African Americans -- Civil rights -- History -- 20th century","Pamphlets","Social justice","African American veterans","Veterans"],"has_online_content_ssim":["false"],"extent_ssm":[".01 Linear Feet 1 folder"],"extent_tesim":[".01 Linear Feet 1 folder"],"date_range_isim":[1946],"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\u003eThis is a single item collection.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This is a single item collection."],"bibliography_html_tesm":["\u003cp\u003eHerbold, Hilary. 1994. \"Never a Level Playing Field: Blacks and the GI Bill.\" \u003ctitle\u003eThe Journal of Blacks in Higher Education\u003c/title\u003e, no. 6, 104–8. https://doi.org/10.2307/2962479.\u003c/p\u003e","\u003cp\u003eSipe, Richard. 2016. \"The Death Knell for Jim Crow: How African-American Soldiers' Experiences Abroad Impacted the Modern Civil Rights Movement.\" \u003ctitle\u003eMAD-RUSH Undergraduate Research Conference\u003c/title\u003e, March. https://commons.lib.jmu.edu/madrush/2016/InternationalDiplomacy/3.\u003c/p\u003e  "],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["Herbold, Hilary. 1994. \"Never a Level Playing Field: Blacks and the GI Bill.\" The Journal of Blacks in Higher Education, no. 6, 104–8. https://doi.org/10.2307/2962479.","Sipe, Richard. 2016. \"The Death Knell for Jim Crow: How African-American Soldiers' Experiences Abroad Impacted the Modern Civil Rights Movement.\" MAD-RUSH Undergraduate Research Conference, March. https://commons.lib.jmu.edu/madrush/2016/InternationalDiplomacy/3."],"bioghist_html_tesm":["\u003cp\u003eThe United Negro and Allied Veterans Association (also known as UNAVA) was organized by African American soldiers upon their return to the United States following World War II circa 1945-1946. 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Pamphlet originally included a UNAVA eagle pin that is missing."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_5e1f46b1506e86425eeb0378fced6fe1\"\u003eSmall illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA).\u003c/abstract\u003e\n    "],"abstract_tesim":["Small illustrated pamphlet used to promote awareness of and membership in the United Negro and Allied Veterans of America (UNAVA)."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e55344e70f1f2a027d91a0d571ecd5cb\"\u003eR 71, C 1, S 6\u003c/physloc\u003e\n    "],"physloc_tesim":["R 71, C 1, S 6"],"corpname_ssim":["George Mason University. 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Bianco collection of African American photographs, 1875","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9587#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. 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The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection received container level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection.","This collection contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.","This series contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. 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Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eVito L. Bianco collection of African American photographs, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Vito L. Bianco collection of African American photographs, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eThis collection received container level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received container level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.\u003c/p\u003e  ","\u003cp\u003eThis series contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.\u003c/p\u003e","\u003cp\u003eOne bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.\u003c/p\u003e"],"scopecontent_heading_ssm":["Content Description","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. 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Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:49:58.131Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9587","ead_ssi":"viw_repositories_2_resources_9587","_root_":"viw_repositories_2_resources_9587","_nest_parent_":"viw_repositories_2_resources_9587","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9587.xml","title_filing_ssi":"Bianco, Vito L. Collection of African American photographs","title_ssm":["Vito L. Bianco collection of African American photographs"],"title_tesim":["Vito L. Bianco collection of African American photographs"],"unitdate_ssm":["circa 1875"],"unitdate_other_ssim":["circa 1875"],"normalized_date_ssm":["1875"],"normalized_title_ssm":["Vito L. Bianco collection of African American photographs, 1875"],"text":["Vito L. Bianco collection of African American photographs, 1875","MS 00325","/repositories/2/resources/9587","Petersburg (Va.)--History","African Americans","Tintype","Real photo postcards","Photography","Carte de visite photographs","The collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection received container level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection.","This collection contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.","This series contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.","One bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["Vito L. Bianco collection of African American photographs, 1875"],"collection_ssim":["Vito L. Bianco collection of African American photographs, 1875"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00325","/repositories/2/resources/9587"],"unitid_tesim":["MS 00325","/repositories/2/resources/9587"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"geogname_ssm":["Petersburg (Va.)--History"],"geogname_ssim":["Petersburg (Va.)--History"],"places_ssim":["Petersburg (Va.)--History"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Donated by Vito L. Bianco in honor of daughter Jillian Taylor Bianco"],"access_subjects_ssim":["African Americans","Tintype","Real photo postcards","Photography","Carte de visite photographs"],"access_subjects_ssm":["African Americans","Tintype","Real photo postcards","Photography","Carte de visite photographs"],"has_online_content_ssim":["false"],"extent_ssm":["0.375 Linear Feet 1 Hollinger box"],"extent_tesim":["0.375 Linear Feet 1 Hollinger box"],"genreform_ssim":["Carte de visite photographs"],"date_range_isim":[1875],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open to all researchers. Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility."],"prefercite_html_tesm":["\u003cp\u003eVito L. Bianco collection of African American photographs, Special Collections Research Center, William \u0026amp; Mary Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Vito L. Bianco collection of African American photographs, Special Collections Research Center, William \u0026 Mary Libraries."],"processinfo_html_tesm":["\u003cp\u003eThis collection received container level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["This collection received container level processing. This finding aid may be updated to reflect new descriptions and acquisitions to the collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.\u003c/p\u003e  ","\u003cp\u003eThis series contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. 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Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.","This series contains one bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards.","One bound album of 18 photographs of African Americans, including children, women, as well as men in military uniforms. Photographs were taken by multiple studios in Virginia including the E.C. Leath Photograph Gallery in Petersburg and the Virginia, Evans and Son Gallery in Norfolk, virginia. Other photographs were produced by New York based studios including Adams Studio and Richard Ward Studio. The photographs include carte de visites, tintypes and postcards."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:49:58.131Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9587"}},{"id":"viu_repositories_3_resources_1639","type":"collection","attributes":{"title":"W.E.B. 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He notes that it is long overdue but that \"such a work had to wait for independent Africans to carry it out.\" He acknowledges the excellence of the Presence Africaine (founded in 1947), which \"has already brought to light much material written in the French language,\" and sees the project as a \"living effort which will grow and change -- which will expand through the years as more and more material is gathered from all parts of Africa.\" Furthermore, he hopes that the project would dispense with divisive colonial distinctions such as \"British,\" \"French,\" \"Black,\" or \"Islamic\" Africa and consider the continent as a whole.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1639#breadcrumbs","type":"document_value","attributes":{"value":{"id":"viu_repositories_3_resources_1639","ead_ssi":"viu_repositories_3_resources_1639","_root_":"viu_repositories_3_resources_1639","_nest_parent_":"viu_repositories_3_resources_1639","ead_source_url_ssi":"data/oai/UVA/repositories_3_resources_1639.xml","aspace_url_ssi":"https://archives.lib.virginia.edu/ark:/59853/196322","title_filing_ssi":"Du Bois, W. 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After completing graduate work at the Friedrich Wilhelm University in Berlin and Harvard University, where he was its first African American to earn a doctorate, he rose to national prominence as a leader of the Niagara Movement (a group of Black civil rights activists seeking equal rights). Du Bois and his supporters opposed the Atlanta Compromise and insisted on full civil rights and increased political representation. He believed this would be achieved by the African-American intellectual elite. He referred to this group as the Talented Tenth, a concept under the umbrella of racial uplift. He felt that African Americans needed advanced education to develop its leadership.","Du Bois was one of the founders of the National Association for the Advancement of Colored People (NAACP) in 1909. He used his position in the NAACP to respond to racist incidents. After the First World War, he attended the Pan-African Congresses, embraced socialism and became a professor at Atlanta University. 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Borrowing a phrase from Frederick Douglass, he popularized the use of the term color line to represent the injustice of the separate but equal doctrine prevalent in American social and political life. His 1940 autobiography Dusk of Dawn is regarded in part as one of the first scientific treatises in the field of American sociology. In his role as editor of the NAACP's journal The Crisis, he published many influential pieces. Du Bois believed that capitalism was a primary cause of racism and was sympathetic to socialist causes.","This collection contains a mimeographed typescript of W.E.B. Du Bois's opening address at the Conference of the Encyclopedia of Africa held at the University of Ghana in Accra in 1962. Du Bois dreamed of editing an 'Encyclopedia Africana'. He envisioned a comprehensive compendium of 'scientific' knowledge about the history, culture, and social institutions of people of African descent. He argues for his project of an Encyclopedia Africana based in Africa and compiled by Africans. He notes that it is long overdue but that \"such a work had to wait for independent Africans to carry it out.\"  He acknowledges the excellence of the Presence Africaine (founded in 1947), which \"has already brought to light much material written in the French language,\" and sees the project as a \"living effort which will grow and change -- which will expand through the years as more and more material is gathered from all parts of Africa.\"  Furthermore, he hopes that the project would dispense with divisive colonial distinctions such as \"British,\" \"French,\" \"Black,\" or \"Islamic\" Africa and consider the continent as a whole.","Albert and Shirley Small Special Collections Library","Du Bois, W. E. B. (William Edward Burghardt), 1868-1963","English"],"collection_title_tesim":["W.E.B. Du Bois Address at the Conference on the Encyclopaedia Africana, 1962"],"collection_ssim":["W.E.B. 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Borrowing a phrase from Frederick Douglass, he popularized the use of the term color line to represent the injustice of the separate but equal doctrine prevalent in American social and political life. His 1940 autobiography Dusk of Dawn is regarded in part as one of the first scientific treatises in the field of American sociology. In his role as editor of the NAACP's journal The Crisis, he published many influential pieces. Du Bois believed that capitalism was a primary cause of racism and was sympathetic to socialist causes.","This collection contains a mimeographed typescript of W.E.B. Du Bois's opening address at the Conference of the Encyclopedia of Africa held at the University of Ghana in Accra in 1962. Du Bois dreamed of editing an 'Encyclopedia Africana'. He envisioned a comprehensive compendium of 'scientific' knowledge about the history, culture, and social institutions of people of African descent. He argues for his project of an Encyclopedia Africana based in Africa and compiled by Africans. He notes that it is long overdue but that \"such a work had to wait for independent Africans to carry it out.\"  He acknowledges the excellence of the Presence Africaine (founded in 1947), which \"has already brought to light much material written in the French language,\" and sees the project as a \"living effort which will grow and change -- which will expand through the years as more and more material is gathered from all parts of Africa.\"  Furthermore, he hopes that the project would dispense with divisive colonial distinctions such as \"British,\" \"French,\" \"Black,\" or \"Islamic\" Africa and consider the continent as a whole.","Albert and Shirley Small Special Collections Library","Du Bois, W. E. B. (William Edward Burghardt), 1868-1963","English"],"collection_title_tesim":["W.E.B. Du Bois Address at the Conference on the Encyclopaedia Africana, 1962"],"collection_ssim":["W.E.B. 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(William Edward Burghardt), 1868-1963","Albert and Shirley Small Special Collections Library"],"acqinfo_ssim":["This collection was purchased from Maggs Bros by the Small Special Collections Library at the University of Virginia Library on 8 August 2023."],"access_subjects_ssim":["Speeches","African Americans"],"access_subjects_ssm":["Speeches","African Americans"],"has_online_content_ssim":["false"],"extent_ssm":[".03 Cubic Feet 1 folder (letter)"],"extent_tesim":[".03 Cubic Feet 1 folder (letter)"],"date_range_isim":[1962],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research use.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research use."],"bioghist_html_tesm":["\u003cp\u003eWilliam Edward Burghardt Du Bois, (1868-1963) was a Harvard trained historian, sociologist, journalist, and political activist. Born in Great Barrington, Massachusetts, Du Bois grew up in a relatively tolerant and integrated community. After completing graduate work at the Friedrich Wilhelm University in Berlin and Harvard University, where he was its first African American to earn a doctorate, he rose to national prominence as a leader of the Niagara Movement (a group of Black civil rights activists seeking equal rights). Du Bois and his supporters opposed the Atlanta Compromise and insisted on full civil rights and increased political representation. He believed this would be achieved by the African-American intellectual elite. He referred to this group as the Talented Tenth, a concept under the umbrella of racial uplift. He felt that African Americans needed advanced education to develop its leadership.\u003c/p\u003e","\u003cp\u003eDu Bois was one of the founders of the National Association for the Advancement of Colored People (NAACP) in 1909. He used his position in the NAACP to respond to racist incidents. After the First World War, he attended the Pan-African Congresses, embraced socialism and became a professor at Atlanta University. Once the Second World War had ended, he engaged in peace activism and was targeted by the FBI. He spent the last years of his life in Ghana and died in Accra on August 27, 1963.\u003c/p\u003e","\u003cp\u003eDu Bois was a prolific author, who primarily targeted racism in his polemics. He protested strongly against lynching, Jim Crow laws, and discrimination in education and employment. His cause included people of color everywhere, particularly Africans and Asians in colonies. He was a proponent of Pan-Africanism and helped organize several Pan-African Congresses to fight for the independence of African colonies from European powers. \u003c/p\u003e","\u003cp\u003eDu Bois made several trips to Europe, Africa and Asia. His collection of essays, The Souls of Black Folk, is a seminal work in African-American literature; and his 1935 magnum opus, Black Reconstruction in America, challenged the prevailing orthodoxy that Blacks were responsible for the failures of the Reconstruction era. Borrowing a phrase from Frederick Douglass, he popularized the use of the term color line to represent the injustice of the separate but equal doctrine prevalent in American social and political life. His 1940 autobiography Dusk of Dawn is regarded in part as one of the first scientific treatises in the field of American sociology. In his role as editor of the NAACP's journal The Crisis, he published many influential pieces. Du Bois believed that capitalism was a primary cause of racism and was sympathetic to socialist causes. \u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["William Edward Burghardt Du Bois, (1868-1963) was a Harvard trained historian, sociologist, journalist, and political activist. Born in Great Barrington, Massachusetts, Du Bois grew up in a relatively tolerant and integrated community. After completing graduate work at the Friedrich Wilhelm University in Berlin and Harvard University, where he was its first African American to earn a doctorate, he rose to national prominence as a leader of the Niagara Movement (a group of Black civil rights activists seeking equal rights). Du Bois and his supporters opposed the Atlanta Compromise and insisted on full civil rights and increased political representation. He believed this would be achieved by the African-American intellectual elite. He referred to this group as the Talented Tenth, a concept under the umbrella of racial uplift. He felt that African Americans needed advanced education to develop its leadership.","Du Bois was one of the founders of the National Association for the Advancement of Colored People (NAACP) in 1909. He used his position in the NAACP to respond to racist incidents. After the First World War, he attended the Pan-African Congresses, embraced socialism and became a professor at Atlanta University. Once the Second World War had ended, he engaged in peace activism and was targeted by the FBI. He spent the last years of his life in Ghana and died in Accra on August 27, 1963.","Du Bois was a prolific author, who primarily targeted racism in his polemics. He protested strongly against lynching, Jim Crow laws, and discrimination in education and employment. His cause included people of color everywhere, particularly Africans and Asians in colonies. He was a proponent of Pan-Africanism and helped organize several Pan-African Congresses to fight for the independence of African colonies from European powers.","Du Bois made several trips to Europe, Africa and Asia. His collection of essays, The Souls of Black Folk, is a seminal work in African-American literature; and his 1935 magnum opus, Black Reconstruction in America, challenged the prevailing orthodoxy that Blacks were responsible for the failures of the Reconstruction era. Borrowing a phrase from Frederick Douglass, he popularized the use of the term color line to represent the injustice of the separate but equal doctrine prevalent in American social and political life. His 1940 autobiography Dusk of Dawn is regarded in part as one of the first scientific treatises in the field of American sociology. In his role as editor of the NAACP's journal The Crisis, he published many influential pieces. Du Bois believed that capitalism was a primary cause of racism and was sympathetic to socialist causes."],"prefercite_html_tesm":["\u003cp\u003eMSS 16831, W. E. B. Du Bois Address at the Conference on Encyclopaedia Africana, Albert and Shirley Small Special Collections Library, University of Virginia Library.\u003c/p\u003e  "],"prefercite_tesim":["MSS 16831, W. E. B. Du Bois Address at the Conference on Encyclopaedia Africana, Albert and Shirley Small Special Collections Library, University of Virginia Library."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains a mimeographed typescript of W.E.B. Du Bois's opening address at the Conference of the Encyclopedia of Africa held at the University of Ghana in Accra in 1962. Du Bois dreamed of editing an 'Encyclopedia Africana'. He envisioned a comprehensive compendium of 'scientific' knowledge about the history, culture, and social institutions of people of African descent. He argues for his project of an Encyclopedia Africana based in Africa and compiled by Africans. He notes that it is long overdue but that \"such a work had to wait for independent Africans to carry it out.\"  He acknowledges the excellence of the Presence Africaine (founded in 1947), which \"has already brought to light much material written in the French language,\" and sees the project as a \"living effort which will grow and change -- which will expand through the years as more and more material is gathered from all parts of Africa.\"  Furthermore, he hopes that the project would dispense with divisive colonial distinctions such as \"British,\" \"French,\" \"Black,\" or \"Islamic\" Africa and consider the continent as a whole.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Content Description"],"scopecontent_tesim":["This collection contains a mimeographed typescript of W.E.B. Du Bois's opening address at the Conference of the Encyclopedia of Africa held at the University of Ghana in Accra in 1962. Du Bois dreamed of editing an 'Encyclopedia Africana'. He envisioned a comprehensive compendium of 'scientific' knowledge about the history, culture, and social institutions of people of African descent. He argues for his project of an Encyclopedia Africana based in Africa and compiled by Africans. He notes that it is long overdue but that \"such a work had to wait for independent Africans to carry it out.\"  He acknowledges the excellence of the Presence Africaine (founded in 1947), which \"has already brought to light much material written in the French language,\" and sees the project as a \"living effort which will grow and change -- which will expand through the years as more and more material is gathered from all parts of Africa.\"  Furthermore, he hopes that the project would dispense with divisive colonial distinctions such as \"British,\" \"French,\" \"Black,\" or \"Islamic\" Africa and consider the continent as a whole."],"corpname_ssim":["Albert and Shirley Small Special Collections Library"],"persname_ssim":["Du Bois, W. E. B. (William Edward Burghardt), 1868-1963"],"names_ssim":["Albert and Shirley Small Special Collections Library","Du Bois, W. E. B. (William Edward Burghardt), 1868-1963"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":0,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:28:33.807Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viu_repositories_3_resources_1639"}},{"id":"viw_repositories_2_resources_9651","type":"collection","attributes":{"title":"World War II African American Soldiers photographs, 1945/1946","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viw_repositories_2_resources_9651#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains photographs taken by an unidentified African American soldier during World War II. The collection features photographs of soldiers training in the United States and deployed overseas in France and Belgium. 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Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations, such as the Virginia Public Records Act (Code of Virginia. § 42.1-76-91); and the Virginia Freedom of Information Act (Code of Virginia § 2.2-3705.5). Confidential material may include, but is not limited to, educational, medical, and personnel records. If sensitive material is found in this collection, please contact a staff member immediately. The disclosure of personally identifiable information pertaining to a living individual may have legal consequences for which the College of William and Mary assumes no responsibility.","This collection of photographs was taken by an unidentified African American soldier who trained at Camp Lee, Virginia. Although established during World War I as a training site, by World War II Camp Lee grew to provide training for quatermasters and other specialists. By 1941, the first Black training unit was established at Camp Lee. During World War II, most African American soldiers were assigned to segregated quatermaster and engineer units which provided technological and material support to combat divisions. Soldiers photographed in this collection are depicted in France and Belgium.","This collection contains photographs taken by an unidentified African American soldier during World War II. The collection features photographs of soldiers training in the United States and deployed overseas in France and Belgium. Photographs including women and children are also featured in the collection.","Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.","Special Collections Research Center","English"],"collection_title_tesim":["World War II African American Soldiers photographs, 1945/1946"],"collection_ssim":["World War II African American Soldiers photographs, 1945/1946"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MS 00360","/repositories/2/resources/9651"],"unitid_tesim":["MS 00360","/repositories/2/resources/9651"],"repository_ssm":["College of William and Mary"],"repository_ssim":["College of William and Mary"],"creator_corpname_ssim":["Special Collections Research Center"],"creators_ssim":["Special Collections Research Center"],"access_terms_ssm":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"acqinfo_ssim":["Purchased with the Nelle Richardson Tonkin Fund."],"access_subjects_ssim":["Military bases--Photographs","African Americans","Soldiers--1940-1950"],"access_subjects_ssm":["Military bases--Photographs","African Americans","Soldiers--1940-1950"],"has_online_content_ssim":["false"],"extent_ssm":["1.17 Linear Feet 1 binder"],"extent_tesim":["1.17 Linear Feet 1 binder"],"date_range_isim":[1945,1946],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open to all researchers. 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Photographs including women and children are also featured in the collection."],"userestrict_html_tesm":["\u003cp\u003eBefore reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before reproducing or quoting from any materials, in whole or in part, permission must be obtained from the Special Collections Research Center, and the holder of the copyright, if not Swem Library."],"corpname_ssim":["Special Collections Research Center"],"names_ssim":["Special Collections Research Center"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-23T07:49:58.131Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viw_repositories_2_resources_9651","ead_ssi":"viw_repositories_2_resources_9651","_root_":"viw_repositories_2_resources_9651","_nest_parent_":"viw_repositories_2_resources_9651","ead_source_url_ssi":"data/oai/WM/repositories_2_resources_9651.xml","title_filing_ssi":"World War II African American Soldiers photographs","title_ssm":["World War II African American Soldiers photographs"],"title_tesim":["World War II African American Soldiers photographs"],"unitdate_ssm":["1945-1946"],"unitdate_inclusive_ssm":["1945-1946"],"normalized_date_ssm":["1945/1946"],"normalized_title_ssm":["World War II African American Soldiers photographs, 1945/1946"],"text":["World War II African American Soldiers photographs, 1945/1946","MS 00360","/repositories/2/resources/9651","Military bases--Photographs","African Americans","Soldiers--1940-1950","The collection is open to all researchers. 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