{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Women+in+community+organization\u0026f%5Bdate_range%5D%5B%5D=1993","last":"https://search.arvasarchive.org/catalog.json?f%5Baccess_subjects%5D%5B%5D=Women+in+community+organization\u0026f%5Bdate_range%5D%5B%5D=1993\u0026page=1"},"meta":{"pages":{"current_page":1,"next_page":null,"prev_page":null,"total_pages":1,"limit_value":10,"offset_value":0,"total_count":5,"first_page?":true,"last_page?":true}},"data":[{"id":"wvmturhc_repositories_2_resources_6950","type":"collection","attributes":{"title":"Artemis Sisters Collective Records","creator":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6950#creator","type":"document_value","attributes":{"value":"Flynn, Michele","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6950#abstract_or_scope","type":"document_value","attributes":{"value":"The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6950#breadcrumbs","type":"document_value","attributes":{"value":{"id":"wvmturhc_repositories_2_resources_6950","ead_ssi":"wvmturhc_repositories_2_resources_6950","_root_":"wvmturhc_repositories_2_resources_6950","_nest_parent_":"wvmturhc_repositories_2_resources_6950","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6950.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/221760","title_ssm":["Artemis Sisters Collective Records"],"title_tesim":["Artemis Sisters Collective Records"],"unitdate_ssm":["1980-1994, 2016-2024, and undated","1980-1994"],"unitdate_bulk_ssim":["1980-1994"],"unitdate_inclusive_ssm":["1980-1994, 2016-2024, and undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950"],"text":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950","Artemis Sisters Collective Records","Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist and Women's History Collection","Music and musicians.","This collection is open for research.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","The Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  ","The early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  ","Almost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  ","Members of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  ","Artemis members ran a radio show,  Something About the Women , focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  ","Additionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026 Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. ","The Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. ","In 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. ","This collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  ","The bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    ","Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  ","The collection is divided into six series: ","Series 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   ","Series 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   ","Series 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  ","Series 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  ","Series 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  ","Series 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.","This series contains photographs from Artemis Sister activities and reunions.","This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.","This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.","This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.","This series contains cassette tape radio show recordings of musical acts and interviews.","This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.","Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.","Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn","English \n.    "],"unitid_tesim":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950"],"normalized_title_ssm":["Artemis Sisters Collective Records"],"collection_title_tesim":["Artemis Sisters Collective Records"],"collection_ssim":["Artemis Sisters Collective Records"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creator_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creator_persname_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creators_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"access_terms_ssm":["Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Flynn, Michele; Koeturius, Carrie; Williams, Cindy; Klein, Ilene; and Transue, Judith, 2022 October 24","Gift of Ilene Klein, 2023 October 16","Gift of Celia Faux, 2023 November 14"],"access_subjects_ssim":["Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist and Women's History Collection","Music and musicians."],"access_subjects_ssm":["Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist and Women's History Collection","Music and musicians."],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet 1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1.5 in.; 1 flat storage box, 3 in.","1.60 Gigabytes 18 files, including .mp4, .doc, .m4a"],"extent_tesim":["1 Linear Feet 1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1.5 in.; 1 flat storage box, 3 in.","1.60 Gigabytes 18 files, including .mp4, .doc, .m4a"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research.\u003c/p\u003e\n","\u003cp\u003eResearchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"bioghist_html_tesm":["\u003cp\u003eThe Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  \u003c/p\u003e\n","\u003cp\u003eThe early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  \u003c/p\u003e\n","\u003cp\u003eAlmost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  \u003c/p\u003e\n","\u003cp\u003eMembers of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  \u003c/p\u003e\n","\u003cp\u003eArtemis members ran a radio show, \u003ctitle\u003e\u003cpart\u003eSomething About the Women\u003c/part\u003e\u003c/title\u003e, focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  \u003c/p\u003e\n","\u003cp\u003eAdditionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026amp; Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. \u003c/p\u003e\n","\u003cp\u003eThe Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. \u003c/p\u003e\n","\u003cp\u003eIn 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  ","The early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  ","Almost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  ","Members of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  ","Artemis members ran a radio show,  Something About the Women , focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  ","Additionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026 Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. ","The Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. ","In 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Artemis Sisters Collective Records, A\u0026amp;M 4561, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Artemis Sisters Collective Records, A\u0026M 4561, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  \u003c/p\u003e\n","\u003cp\u003eThe bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    \u003c/p\u003e\n","\u003cp\u003eMaterials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into six series: \u003c/p\u003e\n","\u003cp\u003eSeries 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   \u003c/p\u003e\n","\u003cp\u003eSeries 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   \u003c/p\u003e\n","\u003cp\u003eSeries 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  \u003c/p\u003e\n","\u003cp\u003eSeries 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  \u003c/p\u003e\n","\u003cp\u003eSeries 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  \u003c/p\u003e\n","\u003cp\u003eSeries 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.\u003c/p\u003e","\u003cp\u003eThis series contains photographs from Artemis Sister activities and reunions.\u003c/p\u003e","\u003cp\u003eThis series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\u003c/p\u003e","\u003cp\u003eThis series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.\u003c/p\u003e","\u003cp\u003eThis series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.\u003c/p\u003e","\u003cp\u003eThis series contains cassette tape radio show recordings of musical acts and interviews.\u003c/p\u003e","\u003cp\u003eThis series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.\u003c/p\u003e","\u003cp\u003eAddendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  ","The bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    ","Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  ","The collection is divided into six series: ","Series 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   ","Series 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   ","Series 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  ","Series 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  ","Series 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  ","Series 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.","This series contains photographs from Artemis Sister activities and reunions.","This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.","This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.","This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.","This series contains cassette tape radio show recordings of musical acts and interviews.","This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.","Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn."],"userestrict_html_tesm":["\u003cp\u003ePublished interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.\u003c/p\u003e\n","\u003cp\u003e\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_0b91a6dbe6c66d53d006a90b9eaad359\"\u003eThe Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.\u003c/abstract\u003e"],"abstract_tesim":["The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_3daa89f9a0c1b1f455c024ec3d4497d2\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy"],"persname_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":47,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:51.904Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_6950","ead_ssi":"wvmturhc_repositories_2_resources_6950","_root_":"wvmturhc_repositories_2_resources_6950","_nest_parent_":"wvmturhc_repositories_2_resources_6950","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6950.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/221760","title_ssm":["Artemis Sisters Collective Records"],"title_tesim":["Artemis Sisters Collective Records"],"unitdate_ssm":["1980-1994, 2016-2024, and undated","1980-1994"],"unitdate_bulk_ssim":["1980-1994"],"unitdate_inclusive_ssm":["1980-1994, 2016-2024, and undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950"],"text":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950","Artemis Sisters Collective Records","Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist and Women's History Collection","Music and musicians.","This collection is open for research.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","The Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  ","The early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  ","Almost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  ","Members of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  ","Artemis members ran a radio show,  Something About the Women , focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  ","Additionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026 Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. ","The Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. ","In 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. ","This collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  ","The bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    ","Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  ","The collection is divided into six series: ","Series 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   ","Series 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   ","Series 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  ","Series 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  ","Series 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  ","Series 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.","This series contains photographs from Artemis Sister activities and reunions.","This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.","This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.","This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.","This series contains cassette tape radio show recordings of musical acts and interviews.","This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.","Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.","Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn","English \n.    "],"unitid_tesim":["A\u0026M 4561","Archival Resource Key","/repositories/2/resources/6950"],"normalized_title_ssm":["Artemis Sisters Collective Records"],"collection_title_tesim":["Artemis Sisters Collective Records"],"collection_ssim":["Artemis Sisters Collective Records"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creator_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creator_persname_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"creators_ssim":["Flynn, Michele","Klein, Ilene","Koeturius, Carrie","Williams, Cindy","Faux, Celia","Keena, Diana","Tomaszewski, Evelyn"],"access_terms_ssm":["Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.","\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Flynn, Michele; Koeturius, Carrie; Williams, Cindy; Klein, Ilene; and Transue, Judith, 2022 October 24","Gift of Ilene Klein, 2023 October 16","Gift of Celia Faux, 2023 November 14"],"access_subjects_ssim":["Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist and Women's History Collection","Music and musicians."],"access_subjects_ssm":["Women political activists","Women in community organization","Human rights advocacy","West Virginia Feminist Activist and Women's History Collection","Music and musicians."],"has_online_content_ssim":["false"],"extent_ssm":["1 Linear Feet 1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1.5 in.; 1 flat storage box, 3 in.","1.60 Gigabytes 18 files, including .mp4, .doc, .m4a"],"extent_tesim":["1 Linear Feet 1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1.5 in.; 1 flat storage box, 3 in.","1.60 Gigabytes 18 files, including .mp4, .doc, .m4a"],"date_range_isim":[1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eThis collection is open for research.\u003c/p\u003e\n","\u003cp\u003eResearchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["This collection is open for research.","Researchers may access born digital materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"bioghist_html_tesm":["\u003cp\u003eThe Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  \u003c/p\u003e\n","\u003cp\u003eThe early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  \u003c/p\u003e\n","\u003cp\u003eAlmost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  \u003c/p\u003e\n","\u003cp\u003eMembers of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  \u003c/p\u003e\n","\u003cp\u003eArtemis members ran a radio show, \u003ctitle\u003e\u003cpart\u003eSomething About the Women\u003c/part\u003e\u003c/title\u003e, focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  \u003c/p\u003e\n","\u003cp\u003eAdditionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026amp; Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. \u003c/p\u003e\n","\u003cp\u003eThe Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. \u003c/p\u003e\n","\u003cp\u003eIn 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The Artemis Sisters Collective was a feminist collective formed in September 1982 after an informal network of women had worked together to produce the Holly Near concert which was part of a Women and Health conference in Morgantown. Due to the enthusiasm generated by the concert, the Artemis Sisters decided to continue creating events featuring women's music in the Morgantown area. By combining creative, political, and social engagements the Artemis Sisters sought to promote women's empowerment.  ","The early years of the collective were focused on sponsoring events featuring musicians, comedians, poets, and story tellers. Some musical acts and entertainers included Holly Near, Robin Flowers and Company, Robin Tyler, Sweet Honey and the Rock, ALIVE!, Hazel Dickens, and Deidre McCalla.  ","Almost immediately upon the group's formation, efforts were made to engage with the community politically and socially. Besides their interest in promoting creative and social pursuits, the Artemis Sisters became involved with political issues through committees and projects, including the Lorraine Momen Defense Committee, Stop Abuse of Womyn Project, Committee for Individual Rights, Justice in the House, People for Justice, Elizabeth Strickland Defense Committee, and the Linda Conway Defense Committee.  ","Members of the Artemis Sisters began their foray into activism with the Lorraine Momen Defense Committee in 1983, which sought to defend Lorraine Momen against the charge of murder of her husband, Wayman Momen, based upon the evidence of domestic abuse and self-defense. The Defense Committee engaged in community education activities to increase public awareness of family violence through leafletting, public meetings, media work, outreach, and event sponsoring. This committee developed into the Stop Abuse of Womyn Project (SAW) to support women facing violence more generally and educate the public on issues such as sexual assault, pornography, and domestic violence.  ","Artemis members ran a radio show,  Something About the Women , focused on curating playlists of women's music, interviewing women from West Virginia, and reporting current events pertaining to women's lives. Something About the Women was aired on the West Virginia University student radio station and was instrumental in spreading news about Artemis activities among the University community.  ","Additionally, a gathering space and lending library called SisterSpace Collective was opened on December 3rd, 1983, to focus on creating spaces where women could learn and engage with other women in the community regardless of race, age, class, or sexual preference. The Sisterspace Collective was housed at 235 High Street in Morgantown and promoted and engaged with a wide variety of activities including hosting the Gay Alcoholics Anonymous and Gay and Lesbian Alliance (GALA) student group, Lesbian Incest \u0026 Rape Survivors Group and Gay Alanon. Although created by members of the Artemis Sisters, SisterSpace eventually became its own independent organization while maintaining close connections with Artemis due to the substantial number of women who were involved in both operations. The SisterSpace Collective worked with the National Organization for Women, Retired School Employees Association, Womens' Studies Program, West Virginia University School of Social Work, some members of the West Virginia Education Association, Womens' Information Center, and the Citizens' Action Group. They also collaborated with the local Morgantown Woman to Woman, Inc. group to host a Women's Help Line. ","The Committee for Individual Rights was formed by the Artemis Sisters in response to the 1983 Opinion by West Virginia Attorney General, Chauncey Browning, that rumor and reputation may be used as criteria in determining fitness of schoolteachers. In 1986, the Artemis Sisters worked with GALA of West Virginia University in its hosting of the first West Virginia Gay and Lesbian Conference in West Virginia. The People for Justice Committee sought to support Betty Justice in her candidacy for the West Virginia House of Delegates. ","In 1987, after almost four years of operation, the SisterSpace Collective chose to close its doors due to a lack of volunteers, library users, and meeting attendance. Despite the shuttering of the Artemis Collective upon the closing of SisterSpace, the members of the intertwined committees and collectives remained in contact and held reunions in 1990, 1993, and 2016. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Artemis Sisters Collective Records, A\u0026amp;M 4561, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Artemis Sisters Collective Records, A\u0026M 4561, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  \u003c/p\u003e\n","\u003cp\u003eThe bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    \u003c/p\u003e\n","\u003cp\u003eMaterials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into six series: \u003c/p\u003e\n","\u003cp\u003eSeries 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   \u003c/p\u003e\n","\u003cp\u003eSeries 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   \u003c/p\u003e\n","\u003cp\u003eSeries 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  \u003c/p\u003e\n","\u003cp\u003eSeries 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  \u003c/p\u003e\n","\u003cp\u003eSeries 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  \u003c/p\u003e\n","\u003cp\u003eSeries 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.\u003c/p\u003e","\u003cp\u003eThis series contains photographs from Artemis Sister activities and reunions.\u003c/p\u003e","\u003cp\u003eThis series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\u003c/p\u003e","\u003cp\u003eThis series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.\u003c/p\u003e","\u003cp\u003eThis series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.\u003c/p\u003e","\u003cp\u003eThis series contains cassette tape radio show recordings of musical acts and interviews.\u003c/p\u003e","\u003cp\u003eThis series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.\u003c/p\u003e","\u003cp\u003eAddendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection documents the activities of the Artemis Sisters Collective through their various committees, collectives, and projects between 1982 and 1987. Additional materials outside of this date range document reunions and research.  ","The bulk of material relates to activities sponsored and hosted by the Artemis Sisters, including musical acts, study groups, and educational sessions. Of particular interest are their efforts in spreading awareness about individual rights, LGBT+ rights, women's rights, domestic abuse, and sexual violence.    ","Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs, and t-shirts.  ","The collection is divided into six series: ","Series 1. Photographs: This series contains photographs from Artemis Sister activities and reunions.   ","Series 2. Concert Materials: This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.\n  \nSeries 3. Activism: This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.   ","Series 4. General: This series contains materials detailing information about the Artemis Sisters and their reunions. Included in this series is information about the SisterSpace Collective.  ","Series 5. Radio Show Recordings: This series contains radio show recordings of musical acts and interviews.  ","Series 6. Ephemera: This series contains printed t-shirts created for various Artemis Sister activities. It also includes an addendum of 2023 October 16, including a ceramic sign hung in the Artemis Collective's Sisterspace Collective on High Street in downtown Morgantown.  ","Series 7. Interviews [Born-Digital Materials]: Addendum of 2023 November 14 includes oral history recordings gathered by West Virginia University doctoral student Celia Faux of the following individuals: Carrie Koeturius, Cynthia (Cindy) Williams, Diana Keena (née Murrell), Evelyn Tomaszewski and Ilene Klein, Judith Gold Stitzel, and Michele Flynn.","This series contains photographs from Artemis Sister activities and reunions.","This series contains correspondence, flyers, posters, and newspaper clippings regarding the various musical acts sponsored by the Artemis Sisters.","This series contains information regarding the Artemis Sisters' various committees and collectives that sought to raise awareness about domestic abuse, sexual violence, and individual rights.","This series contains materials detailing information about the Artemis Sisters and their reunions. 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The creator retains the copyright of their interview, but the West Virginia and Regional History Center may make it and other material available to the general public for educational and noncommercial purposes, with proper attribution. https://creativecommons.org/licenses/by-nc-sa/3.0/deed.en. Other interviews in that series do not yet have deeds of gift/release forms, so they cannot be published.\u003c/p\u003e\n","\u003cp\u003e\nPermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Published interviews in Series 7. Interviews [Born-Digital Materials], are under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. 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The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. Materials include posters, pamphlets, correspondence, cassette tapes, meeting minutes, flyers, press releases, photographs and t-shirts.\u003c/abstract\u003e"],"abstract_tesim":["The Artemis Sisters Collective was a local Morgantown, West Virginia feminist collective formed in September 1982 for the purpose of promoting women's empowerment through creative, political, and social engagement. The bulk of materials range in dates from 1980 to 1987 and include information regarding the SisterSpace Collective, various women's defense committees, musical acts, and social activism. 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She served as the chair for the Women and Creativity Conference in 1984. The Conference was an advocacy space for women in the arts and promoted various types of art through the push for women in the arts and the equality that followed. Koeturius also worked in the Board of Directors for the Women's Information Center throughout her time in Morgantown.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Carrie Koeturius, a West Virginia University alumna, has heavily involved in various university and community projects relating to women's rights. Koeturius was involved with the The Artemis Sisters, which was a feminist collective based in Morgantown, West Virginia in the early 1980s. Within the Artemis Sisters Collective, Koeturius was also involved with SisterSpace which was a lending library and gathering space for women within the area. She served as the chair for the Women and Creativity Conference in 1984. The Conference was an advocacy space for women in the arts and promoted various types of art through the push for women in the arts and the equality that followed. Koeturius also worked in the Board of Directors for the Women's Information Center throughout her time in Morgantown."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Carrie Koeturius Papers, A\u0026amp;M 4356, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Carrie Koeturius Papers, A\u0026M 4356, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection includes materials pertaining to Carrie Koeturius and her career at and connections with West Virginia University. Koeturius is an alumna of WVU, and has worked at WVU as manager of its Conference Center (1984), served as co-chair of the WVU Conference on Women and Creativity (1984), and was recipient of the Mary Catherine Buswell Award (1984). In 1984 she moved to California. Formats include clippings, correspondence, conference materials and publications, etc.\u003c/p\u003e\n","\u003cp\u003eAddendum of 2022 is in box 1, folder 7 and box 1, item 1.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection includes materials pertaining to Carrie Koeturius and her career at and connections with West Virginia University. Koeturius is an alumna of WVU, and has worked at WVU as manager of its Conference Center (1984), served as co-chair of the WVU Conference on Women and Creativity (1984), and was recipient of the Mary Catherine Buswell Award (1984). In 1984 she moved to California. Formats include clippings, correspondence, conference materials and publications, etc.","Addendum of 2022 is in box 1, folder 7 and box 1, item 1."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_74039acc0f4fa0278b99bdcf99333dbf\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Koeturius, Carrie"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Koeturius, Carrie"],"persname_ssim":["Koeturius, Carrie"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:42.135Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6442"}},{"id":"wvmturhc_repositories_2_resources_6768","type":"collection","attributes":{"title":"Christine Weiss Daugherty Papers","creator":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6768#creator","type":"document_value","attributes":{"value":"Daugherty, Christine Weiss, 1938-","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6768#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection includes materials pertaining to Christine Weiss Daugherty and her work with women's economic development, rural economic development, non-profit management, and international development. \u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6768#breadcrumbs","type":"document_value","attributes":{"value":{"id":"wvmturhc_repositories_2_resources_6768","ead_ssi":"wvmturhc_repositories_2_resources_6768","_root_":"wvmturhc_repositories_2_resources_6768","_nest_parent_":"wvmturhc_repositories_2_resources_6768","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6768.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/206139","title_ssm":["Christine Weiss Daugherty Papers"],"title_tesim":["Christine Weiss Daugherty Papers"],"unitdate_ssm":["1930-2021 and undated","1972-2020"],"unitdate_bulk_ssim":["1972-2020"],"unitdate_inclusive_ssm":["1930-2021 and undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4509","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6768"],"text":["A\u0026M 4509","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6768","Christine Weiss Daugherty Papers","Nonprofit organizations","Rural development","Women -- Employment","Women in community organization","Women in rural development","West Virginia Feminist Activist and Women's History Collection","Material in box 4, folder 26 is restricted for 50 years after the latest date of creation due to the presence of student works. It may be accessed in 2071. ","Researchers may access born digital and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","Christine Weiss Daugherty is an advocate in issues related to women's economic equality, rural economic development, and non-profit management. The content of this collection reflects Daugherty's varied professional and avocational background. Early in her career, she ran Garretts Bend Pottery Studio (1972-1979), which was located on Great Oak Farm in Lincoln County, West Virginia. Great Oak Farm was a non-profit camp for low income Appalacian youth founded by Daugherty and her then husband, Dr. Robert (Bob) Weiss, which Daugtery was active with until the 1990s. From 1979-1988, she was the executive director of Women and Employment (later, Center for Economic Options) which advocated for career advancement for women in West Virginia. In 1988, she became the senior project associate with the Ms. Foundation for Women. ","Beginning in 1988, she started Rural Strategies, a consulting firm specializing in rural economic development and women and community economic development. From 1990-1993, she had a fellowship with the Kellogg International Leadership Program that facilitated her travel to international destinations. ","She served as interim co-director of the West Virginia University Center for Women's Studies for the academic year 1992-1993 and earned her Regents B.A. from West Virginia State College in 1994. In 1996, she was named senior program advisor to the Volunteers in Overseas Cooperative Assistance (VOCA/VOKA) Rural Development Project in Slovakia which lasted 3 years. In addition, she has participated in numerous other projects and volunteer organizations. She has received multiple awards for her activist work, including the Katherine Coleman Goble Johnson Women Making History Award.","A\u0026M 4357, Great Oak Farm Records","This collection includes materials pertaining to Christine Weiss Daugherty and her work with women's economic development, rural economic development, non-profit management, and international development. ","Materials include correspondence, photographs, newspaper clippings, resumes, a diploma, magazines, books, pamphlets, notes, contact lists, journals, scrapbooks, research materials, interviews, family history materials, economic reports, newsletters, and CDs. The collection is divided into five series. There is some overlap between the series, especially concerning Daugherty's work with the Kellogg Foundation and international economic development.","Series 1. Christine Weiss Daugherty Life and Achievements: This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.","Series 2. Women and Employment: This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.","Series 3. International Development: This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.","Series 4. Kellogg Foundation: This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.","Series 5. Appalachia Activism: This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.","This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.","Contains one CD","This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.","This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.","Contains one CD","This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.","This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, journals, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.","Oversized material moved to A\u0026M 4509, Box 6, Folder 1","Oversized material moved to A\u0026M 4509, Box 5, Folder 2","Oversized material moved to A\u0026M 4509, Box 5, Folder 3","Removed from A\u0026M 4509, Box 3, Folder 2","Removed from A\u0026M 4509, Box 1, Folder 4a-4b","Oversized material moved to A\u0026M 4509, Box 5, Folder 1","Oversized material moved to A\u0026M 4509, Box 6, Folder 3","Removed from A\u0026M 4509, Box 1, Folder 3a-3c","Removed from A\u0026M 4509, Box 1, Folder 18a-18d","Oversized material moved to A\u0026M 4509, Box 6, Folder 2","Oversized material moved to A\u0026M 4509, Box 6, Folder 2","Oversized material moved to A\u0026M 4509, Box 5, Folder 2","Oversized material moved to A\u0026M 4509, Box 6, Folder 4","Removed from A\u0026M 4509, Box 1, Folder 11; Removed from A\u0026M 4509, Box 1, Folder 14","Removed from A\u0026M 4509, Box 1, Folder 7; Removed from Box 1, Folder 9","Removed from A\u0026M 4509, Box 4, Folder 15","Oversized material moved to A\u0026M 4509, Box 5, Folder 4","Oversized material moved to A\u0026M 4509, Box 5, Folder 5","Removed from A\u0026M 4509, Box 4, Folder 12","Removed from A\u0026M 4509, Box 4, Folder 24","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","WVU. Libraries. West Virginia and Regional History Collection","Daugherty, Christine Weiss, 1938-","Moore, Elisabeth","English \n.    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Libraries. West Virginia and Regional History Collection"],"creator_ssim":["Daugherty, Christine Weiss, 1938-","Moore, Elisabeth","WVU. Libraries. West Virginia and Regional History Collection"],"creator_persname_ssim":["Daugherty, Christine Weiss, 1938-","Moore, Elisabeth"],"creator_corpname_ssim":["WVU. Libraries. West Virginia and Regional History Collection"],"creators_ssim":["Daugherty, Christine Weiss, 1938-","Moore, Elisabeth","WVU. Libraries. West Virginia and Regional History Collection"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Weiss, Christine Daugherty, 2019 August 22, 2020 August 28, 2022 August.","Acquired by WVU, Libraries, West Virginia and Regional History Center, 2022 March 15."],"access_subjects_ssim":["Nonprofit organizations","Rural development","Women -- Employment","Women in community organization","Women in rural development","West Virginia Feminist Activist and Women's History Collection"],"access_subjects_ssm":["Nonprofit organizations","Rural development","Women -- Employment","Women in community organization","Women in rural development","West Virginia Feminist Activist and Women's History Collection"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Linear Feet 2 record cartons, 15 in. each; 2 document cases, 5 in. each; 2 flat storage boxes, 1 in. each","0.847 Gigabytes 1. wav file"],"extent_tesim":["3.5 Linear Feet 2 record cartons, 15 in. each; 2 document cases, 5 in. each; 2 flat storage boxes, 1 in. each","0.847 Gigabytes 1. wav file"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"accessrestrict_html_tesm":["\u003cp\u003eMaterial in box 4, folder 26 is restricted for 50 years after the latest date of creation due to the presence of student works. It may be accessed in 2071. \u003c/p\u003e\n","\u003cp\u003eResearchers may access born digital and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Material in box 4, folder 26 is restricted for 50 years after the latest date of creation due to the presence of student works. It may be accessed in 2071. ","Researchers may access born digital and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"bioghist_html_tesm":["\u003cp\u003eChristine Weiss Daugherty is an advocate in issues related to women's economic equality, rural economic development, and non-profit management. The content of this collection reflects Daugherty's varied professional and avocational background. Early in her career, she ran Garretts Bend Pottery Studio (1972-1979), which was located on Great Oak Farm in Lincoln County, West Virginia. Great Oak Farm was a non-profit camp for low income Appalacian youth founded by Daugherty and her then husband, Dr. Robert (Bob) Weiss, which Daugtery was active with until the 1990s. From 1979-1988, she was the executive director of Women and Employment (later, Center for Economic Options) which advocated for career advancement for women in West Virginia. In 1988, she became the senior project associate with the Ms. Foundation for Women. \u003c/p\u003e\n","\u003cp\u003eBeginning in 1988, she started Rural Strategies, a consulting firm specializing in rural economic development and women and community economic development. From 1990-1993, she had a fellowship with the Kellogg International Leadership Program that facilitated her travel to international destinations. \u003c/p\u003e\n","\u003cp\u003eShe served as interim co-director of the West Virginia University Center for Women's Studies for the academic year 1992-1993 and earned her Regents B.A. from West Virginia State College in 1994. In 1996, she was named senior program advisor to the Volunteers in Overseas Cooperative Assistance (VOCA/VOKA) Rural Development Project in Slovakia which lasted 3 years. In addition, she has participated in numerous other projects and volunteer organizations. She has received multiple awards for her activist work, including the Katherine Coleman Goble Johnson Women Making History Award.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Christine Weiss Daugherty is an advocate in issues related to women's economic equality, rural economic development, and non-profit management. The content of this collection reflects Daugherty's varied professional and avocational background. Early in her career, she ran Garretts Bend Pottery Studio (1972-1979), which was located on Great Oak Farm in Lincoln County, West Virginia. Great Oak Farm was a non-profit camp for low income Appalacian youth founded by Daugherty and her then husband, Dr. Robert (Bob) Weiss, which Daugtery was active with until the 1990s. From 1979-1988, she was the executive director of Women and Employment (later, Center for Economic Options) which advocated for career advancement for women in West Virginia. In 1988, she became the senior project associate with the Ms. Foundation for Women. ","Beginning in 1988, she started Rural Strategies, a consulting firm specializing in rural economic development and women and community economic development. From 1990-1993, she had a fellowship with the Kellogg International Leadership Program that facilitated her travel to international destinations. ","She served as interim co-director of the West Virginia University Center for Women's Studies for the academic year 1992-1993 and earned her Regents B.A. from West Virginia State College in 1994. In 1996, she was named senior program advisor to the Volunteers in Overseas Cooperative Assistance (VOCA/VOKA) Rural Development Project in Slovakia which lasted 3 years. In addition, she has participated in numerous other projects and volunteer organizations. She has received multiple awards for her activist work, including the Katherine Coleman Goble Johnson Women Making History Award."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Christine Weiss Daugherty Papers, A\u0026amp;M 4509, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Christine Weiss Daugherty Papers, A\u0026M 4509, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eA\u0026amp;M 4357, Great Oak Farm Records\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["A\u0026M 4357, Great Oak Farm Records"],"scopecontent_html_tesm":["\u003cp\u003eThis collection includes materials pertaining to Christine Weiss Daugherty and her work with women's economic development, rural economic development, non-profit management, and international development. \u003c/p\u003e\n","\u003cp\u003eMaterials include correspondence, photographs, newspaper clippings, resumes, a diploma, magazines, books, pamphlets, notes, contact lists, journals, scrapbooks, research materials, interviews, family history materials, economic reports, newsletters, and CDs. The collection is divided into five series. There is some overlap between the series, especially concerning Daugherty's work with the Kellogg Foundation and international economic development.\u003c/p\u003e\n","\u003cp\u003eSeries 1. Christine Weiss Daugherty Life and Achievements: This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.\u003c/p\u003e\n","\u003cp\u003eSeries 2. Women and Employment: This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.\u003c/p\u003e\n","\u003cp\u003eSeries 3. International Development: This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.\u003c/p\u003e\n","\u003cp\u003eSeries 4. Kellogg Foundation: This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.\u003c/p\u003e\n","\u003cp\u003eSeries 5. Appalachia Activism: This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.\u003c/p\u003e","\u003cp\u003eContains one CD\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.\u003c/p\u003e","\u003cp\u003eContains one CD\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. 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","Materials include correspondence, photographs, newspaper clippings, resumes, a diploma, magazines, books, pamphlets, notes, contact lists, journals, scrapbooks, research materials, interviews, family history materials, economic reports, newsletters, and CDs. The collection is divided into five series. There is some overlap between the series, especially concerning Daugherty's work with the Kellogg Foundation and international economic development.","Series 1. Christine Weiss Daugherty Life and Achievements: This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.","Series 2. Women and Employment: This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.","Series 3. International Development: This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.","Series 4. Kellogg Foundation: This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.","Series 5. Appalachia Activism: This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.","This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.","Contains one CD","This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.","This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.","Contains one CD","This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.","This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, journals, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4."],"separatedmaterial_html_tesm":["\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 1\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 2\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 3\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 3, Folder 2\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 4a-4b\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 1\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 3\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 3a-3c\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 18a-18d\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 2\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 2\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 2\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 4\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 11; Removed from A\u0026amp;M 4509, Box 1, Folder 14\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 7; Removed from Box 1, Folder 9\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 4, Folder 15\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 4\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 5\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 4, Folder 12\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 4, Folder 24\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials"],"separatedmaterial_tesim":["Oversized material moved to A\u0026M 4509, Box 6, Folder 1","Oversized material moved to A\u0026M 4509, Box 5, Folder 2","Oversized material moved to A\u0026M 4509, Box 5, Folder 3","Removed from A\u0026M 4509, Box 3, Folder 2","Removed from A\u0026M 4509, Box 1, Folder 4a-4b","Oversized material moved to A\u0026M 4509, Box 5, Folder 1","Oversized material moved to A\u0026M 4509, Box 6, Folder 3","Removed from A\u0026M 4509, Box 1, Folder 3a-3c","Removed from A\u0026M 4509, Box 1, Folder 18a-18d","Oversized material moved to A\u0026M 4509, Box 6, Folder 2","Oversized material moved to A\u0026M 4509, Box 6, Folder 2","Oversized material moved to A\u0026M 4509, Box 5, Folder 2","Oversized material moved to A\u0026M 4509, Box 6, Folder 4","Removed from A\u0026M 4509, Box 1, Folder 11; Removed from A\u0026M 4509, Box 1, Folder 14","Removed from A\u0026M 4509, Box 1, Folder 7; Removed from Box 1, Folder 9","Removed from A\u0026M 4509, Box 4, Folder 15","Oversized material moved to A\u0026M 4509, Box 5, Folder 4","Oversized material moved to A\u0026M 4509, Box 5, Folder 5","Removed from A\u0026M 4509, Box 4, Folder 12","Removed from A\u0026M 4509, Box 4, Folder 24"],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_8675e55a0842fb2823703fba8fdc485d\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["WVU. Libraries. West Virginia and Regional History Collection","Daugherty, Christine Weiss, 1938-","Daugherty, Christine Weiss, 1938-"],"names_ssim":["West Virginia and Regional History Center","WVU. Libraries. West Virginia and Regional History Collection","Daugherty, Christine Weiss, 1938-","Moore, Elisabeth"],"corpname_ssim":["West Virginia and Regional History Center","WVU. Libraries. West Virginia and Regional History Collection"],"persname_ssim":["Daugherty, Christine Weiss, 1938-","Moore, Elisabeth"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":80,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:14.728Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_6768","ead_ssi":"wvmturhc_repositories_2_resources_6768","_root_":"wvmturhc_repositories_2_resources_6768","_nest_parent_":"wvmturhc_repositories_2_resources_6768","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6768.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/206139","title_ssm":["Christine Weiss Daugherty Papers"],"title_tesim":["Christine Weiss Daugherty Papers"],"unitdate_ssm":["1930-2021 and undated","1972-2020"],"unitdate_bulk_ssim":["1972-2020"],"unitdate_inclusive_ssm":["1930-2021 and undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4509","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6768"],"text":["A\u0026M 4509","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6768","Christine Weiss Daugherty Papers","Nonprofit organizations","Rural development","Women -- Employment","Women in community organization","Women in rural development","West Virginia Feminist Activist and Women's History Collection","Material in box 4, folder 26 is restricted for 50 years after the latest date of creation due to the presence of student works. It may be accessed in 2071. ","Researchers may access born digital and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","Christine Weiss Daugherty is an advocate in issues related to women's economic equality, rural economic development, and non-profit management. The content of this collection reflects Daugherty's varied professional and avocational background. Early in her career, she ran Garretts Bend Pottery Studio (1972-1979), which was located on Great Oak Farm in Lincoln County, West Virginia. Great Oak Farm was a non-profit camp for low income Appalacian youth founded by Daugherty and her then husband, Dr. Robert (Bob) Weiss, which Daugtery was active with until the 1990s. From 1979-1988, she was the executive director of Women and Employment (later, Center for Economic Options) which advocated for career advancement for women in West Virginia. In 1988, she became the senior project associate with the Ms. Foundation for Women. ","Beginning in 1988, she started Rural Strategies, a consulting firm specializing in rural economic development and women and community economic development. From 1990-1993, she had a fellowship with the Kellogg International Leadership Program that facilitated her travel to international destinations. ","She served as interim co-director of the West Virginia University Center for Women's Studies for the academic year 1992-1993 and earned her Regents B.A. from West Virginia State College in 1994. In 1996, she was named senior program advisor to the Volunteers in Overseas Cooperative Assistance (VOCA/VOKA) Rural Development Project in Slovakia which lasted 3 years. In addition, she has participated in numerous other projects and volunteer organizations. She has received multiple awards for her activist work, including the Katherine Coleman Goble Johnson Women Making History Award.","A\u0026M 4357, Great Oak Farm Records","This collection includes materials pertaining to Christine Weiss Daugherty and her work with women's economic development, rural economic development, non-profit management, and international development. ","Materials include correspondence, photographs, newspaper clippings, resumes, a diploma, magazines, books, pamphlets, notes, contact lists, journals, scrapbooks, research materials, interviews, family history materials, economic reports, newsletters, and CDs. The collection is divided into five series. There is some overlap between the series, especially concerning Daugherty's work with the Kellogg Foundation and international economic development.","Series 1. Christine Weiss Daugherty Life and Achievements: This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.","Series 2. Women and Employment: This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.","Series 3. International Development: This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.","Series 4. Kellogg Foundation: This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.","Series 5. Appalachia Activism: This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.","This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.","Contains one CD","This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.","This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.","Contains one CD","This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.","This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, journals, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.","Oversized material moved to A\u0026M 4509, Box 6, Folder 1","Oversized material moved to A\u0026M 4509, Box 5, Folder 2","Oversized material moved to A\u0026M 4509, Box 5, Folder 3","Removed from A\u0026M 4509, Box 3, Folder 2","Removed from A\u0026M 4509, Box 1, Folder 4a-4b","Oversized material moved to A\u0026M 4509, Box 5, Folder 1","Oversized material moved to A\u0026M 4509, Box 6, Folder 3","Removed from A\u0026M 4509, Box 1, Folder 3a-3c","Removed from A\u0026M 4509, Box 1, Folder 18a-18d","Oversized material moved to A\u0026M 4509, Box 6, Folder 2","Oversized material moved to A\u0026M 4509, Box 6, Folder 2","Oversized material moved to A\u0026M 4509, Box 5, Folder 2","Oversized material moved to A\u0026M 4509, Box 6, Folder 4","Removed from A\u0026M 4509, Box 1, Folder 11; Removed from A\u0026M 4509, Box 1, Folder 14","Removed from A\u0026M 4509, Box 1, Folder 7; Removed from Box 1, Folder 9","Removed from A\u0026M 4509, Box 4, Folder 15","Oversized material moved to A\u0026M 4509, Box 5, Folder 4","Oversized material moved to A\u0026M 4509, Box 5, Folder 5","Removed from A\u0026M 4509, Box 4, Folder 12","Removed from A\u0026M 4509, Box 4, Folder 24","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","WVU. Libraries. West Virginia and Regional History Collection","Daugherty, Christine Weiss, 1938-","Moore, Elisabeth","English \n.    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For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Weiss, Christine Daugherty, 2019 August 22, 2020 August 28, 2022 August.","Acquired by WVU, Libraries, West Virginia and Regional History Center, 2022 March 15."],"access_subjects_ssim":["Nonprofit organizations","Rural development","Women -- Employment","Women in community organization","Women in rural development","West Virginia Feminist Activist and Women's History Collection"],"access_subjects_ssm":["Nonprofit organizations","Rural development","Women -- Employment","Women in community organization","Women in rural development","West Virginia Feminist Activist and Women's History Collection"],"has_online_content_ssim":["false"],"extent_ssm":["3.5 Linear Feet 2 record cartons, 15 in. each; 2 document cases, 5 in. each; 2 flat storage boxes, 1 in. each","0.847 Gigabytes 1. wav file"],"extent_tesim":["3.5 Linear Feet 2 record cartons, 15 in. each; 2 document cases, 5 in. each; 2 flat storage boxes, 1 in. each","0.847 Gigabytes 1. wav file"],"date_range_isim":[1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021],"accessrestrict_html_tesm":["\u003cp\u003eMaterial in box 4, folder 26 is restricted for 50 years after the latest date of creation due to the presence of student works. 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","Researchers may access born digital and digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"bioghist_html_tesm":["\u003cp\u003eChristine Weiss Daugherty is an advocate in issues related to women's economic equality, rural economic development, and non-profit management. The content of this collection reflects Daugherty's varied professional and avocational background. Early in her career, she ran Garretts Bend Pottery Studio (1972-1979), which was located on Great Oak Farm in Lincoln County, West Virginia. Great Oak Farm was a non-profit camp for low income Appalacian youth founded by Daugherty and her then husband, Dr. Robert (Bob) Weiss, which Daugtery was active with until the 1990s. 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In addition, she has participated in numerous other projects and volunteer organizations. She has received multiple awards for her activist work, including the Katherine Coleman Goble Johnson Women Making History Award.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Christine Weiss Daugherty is an advocate in issues related to women's economic equality, rural economic development, and non-profit management. The content of this collection reflects Daugherty's varied professional and avocational background. Early in her career, she ran Garretts Bend Pottery Studio (1972-1979), which was located on Great Oak Farm in Lincoln County, West Virginia. Great Oak Farm was a non-profit camp for low income Appalacian youth founded by Daugherty and her then husband, Dr. Robert (Bob) Weiss, which Daugtery was active with until the 1990s. From 1979-1988, she was the executive director of Women and Employment (later, Center for Economic Options) which advocated for career advancement for women in West Virginia. In 1988, she became the senior project associate with the Ms. Foundation for Women. ","Beginning in 1988, she started Rural Strategies, a consulting firm specializing in rural economic development and women and community economic development. From 1990-1993, she had a fellowship with the Kellogg International Leadership Program that facilitated her travel to international destinations. ","She served as interim co-director of the West Virginia University Center for Women's Studies for the academic year 1992-1993 and earned her Regents B.A. from West Virginia State College in 1994. In 1996, she was named senior program advisor to the Volunteers in Overseas Cooperative Assistance (VOCA/VOKA) Rural Development Project in Slovakia which lasted 3 years. In addition, she has participated in numerous other projects and volunteer organizations. She has received multiple awards for her activist work, including the Katherine Coleman Goble Johnson Women Making History Award."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Christine Weiss Daugherty Papers, A\u0026amp;M 4509, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Christine Weiss Daugherty Papers, A\u0026M 4509, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eA\u0026amp;M 4357, Great Oak Farm Records\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["A\u0026M 4357, Great Oak Farm Records"],"scopecontent_html_tesm":["\u003cp\u003eThis collection includes materials pertaining to Christine Weiss Daugherty and her work with women's economic development, rural economic development, non-profit management, and international development. \u003c/p\u003e\n","\u003cp\u003eMaterials include correspondence, photographs, newspaper clippings, resumes, a diploma, magazines, books, pamphlets, notes, contact lists, journals, scrapbooks, research materials, interviews, family history materials, economic reports, newsletters, and CDs. The collection is divided into five series. There is some overlap between the series, especially concerning Daugherty's work with the Kellogg Foundation and international economic development.\u003c/p\u003e\n","\u003cp\u003eSeries 1. Christine Weiss Daugherty Life and Achievements: This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.\u003c/p\u003e\n","\u003cp\u003eSeries 2. Women and Employment: This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.\u003c/p\u003e\n","\u003cp\u003eSeries 3. International Development: This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.\u003c/p\u003e\n","\u003cp\u003eSeries 4. Kellogg Foundation: This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.\u003c/p\u003e\n","\u003cp\u003eSeries 5. Appalachia Activism: This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.\u003c/p\u003e","\u003cp\u003eContains one CD\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.\u003c/p\u003e","\u003cp\u003eContains one CD\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.\u003c/p\u003e","\u003cp\u003eThis series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, journals, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection includes materials pertaining to Christine Weiss Daugherty and her work with women's economic development, rural economic development, non-profit management, and international development. ","Materials include correspondence, photographs, newspaper clippings, resumes, a diploma, magazines, books, pamphlets, notes, contact lists, journals, scrapbooks, research materials, interviews, family history materials, economic reports, newsletters, and CDs. The collection is divided into five series. There is some overlap between the series, especially concerning Daugherty's work with the Kellogg Foundation and international economic development.","Series 1. Christine Weiss Daugherty Life and Achievements: This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.","Series 2. Women and Employment: This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.","Series 3. International Development: This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.","Series 4. Kellogg Foundation: This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.","Series 5. Appalachia Activism: This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4.","This series contains materials produced and collected by Christine Weiss Daugherty pertaining to her family history, personal life, and professional achievements from 1954-2021. Prominent topics include a family biography, personal photographs and correspondence, interview with Daugherty, and news articles featuring Daugherty. The types of materials included are CDs, resumes, family biography, photographs, a diploma, awards, correspondence, notes, interview, papers, and newspaper clippings. Materials can be found in boxes 1, 2, 3, 4, and 5.","Contains one CD","This series contains materials produced and collected by Christine Weiss Daugherty related to work she did for women's economic rights in West Virginia and abroad from 1974-2013. Prominent topics include women working in coal mines and women's job creation. The types of materials included are notes, flyers, newspaper clippings, books, photographs, and scrapbooks. Materials can be found in boxes 1, 2, 3, and 5.","This series contains materials produced and collected by Christine Weiss Daugherty related to her work as an advocate for economic development abroad. Prominent topics include notes from her work in Slovakia, Ghana, India, Kenya, and Tunisia from 1985-2008. The types of materials included are notes, newspaper clippings, journals, pamphlets, books, and photographs. Materials can be found in boxes 1, 2, 4, and 5.","Contains one CD","This series contains materials produced and collected by Christine Weiss Daugherty related to her work with the Kellogg Foundation from 1990-1993. The materials span from 1983-2020. Prominent topics include international development, community organizing, and work in consulting. The types of materials included are notes, correspondence, research materials, pamphlets, contact lists, economic reports, and newspaper clippings. Materials can be found in boxes 1, 4, and 5.","This series contains materials produced and collected by Christine Weiss Daugherty related to activist work she did in West Virginia and Appalachia from 1981-2018. The types of materials included are journals, newspaper clippings, notes, journals, reports, books, and correspondence. Materials can be found in boxes 2, 3, and 4."],"separatedmaterial_html_tesm":["\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 1\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 2\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 3\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 3, Folder 2\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 4a-4b\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 1\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 3\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 3a-3c\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 18a-18d\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 2\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 2\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 2\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 6, Folder 4\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 11; Removed from A\u0026amp;M 4509, Box 1, Folder 14\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 1, Folder 7; Removed from Box 1, Folder 9\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 4, Folder 15\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 4\u003c/p\u003e","\u003cp\u003eOversized material moved to A\u0026amp;M 4509, Box 5, Folder 5\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 4, Folder 12\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 4509, Box 4, Folder 24\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials"],"separatedmaterial_tesim":["Oversized material moved to A\u0026M 4509, Box 6, Folder 1","Oversized material moved to A\u0026M 4509, Box 5, Folder 2","Oversized material moved to A\u0026M 4509, Box 5, Folder 3","Removed from A\u0026M 4509, Box 3, Folder 2","Removed from A\u0026M 4509, Box 1, Folder 4a-4b","Oversized material moved to A\u0026M 4509, Box 5, Folder 1","Oversized material moved to A\u0026M 4509, Box 6, Folder 3","Removed from A\u0026M 4509, Box 1, Folder 3a-3c","Removed from A\u0026M 4509, Box 1, Folder 18a-18d","Oversized material moved to A\u0026M 4509, Box 6, Folder 2","Oversized material moved to A\u0026M 4509, Box 6, Folder 2","Oversized material moved to A\u0026M 4509, Box 5, Folder 2","Oversized material moved to A\u0026M 4509, Box 6, Folder 4","Removed from A\u0026M 4509, Box 1, Folder 11; Removed from A\u0026M 4509, Box 1, Folder 14","Removed from A\u0026M 4509, Box 1, Folder 7; Removed from Box 1, Folder 9","Removed from A\u0026M 4509, Box 4, Folder 15","Oversized material moved to A\u0026M 4509, Box 5, Folder 4","Oversized material moved to A\u0026M 4509, Box 5, Folder 5","Removed from A\u0026M 4509, Box 4, Folder 12","Removed from A\u0026M 4509, Box 4, Folder 24"],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_8675e55a0842fb2823703fba8fdc485d\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["WVU. Libraries. West Virginia and Regional History Collection","Daugherty, Christine Weiss, 1938-","Daugherty, Christine Weiss, 1938-"],"names_ssim":["West Virginia and Regional History Center","WVU. Libraries. West Virginia and Regional History Collection","Daugherty, Christine Weiss, 1938-","Moore, Elisabeth"],"corpname_ssim":["West Virginia and Regional History Center","WVU. Libraries. West Virginia and Regional History Collection"],"persname_ssim":["Daugherty, Christine Weiss, 1938-","Moore, Elisabeth"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":80,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:14.728Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6768"}},{"id":"wvmturhc_repositories_2_resources_1610","type":"collection","attributes":{"title":"Maryat Lee, Playwright, Papers","creator":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610#creator","type":"document_value","attributes":{"value":"Lee, Maryat, 1923-1989","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610#abstract_or_scope","type":"document_value","attributes":{"value":"Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610#breadcrumbs","type":"document_value","attributes":{"value":{"id":"wvmturhc_repositories_2_resources_1610","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1610.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195886","title_ssm":["Maryat Lee, Playwright, Papers"],"title_tesim":["Maryat Lee, Playwright, Papers"],"unitdate_ssm":["1902-1997","1951-1989"],"unitdate_bulk_ssim":["1951-1989"],"unitdate_inclusive_ssm":["1902-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"text":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610","Maryat Lee, Playwright, Papers","Hinton (W. Va.)","New York (N.Y.)","West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization","No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. ","Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  ","This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts.","This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing.","This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","DVD","This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","Includes cassette tape labeled (\"Dr. Pfieffer\", October 28 1983)","This series contains published plays collected, but not written, by Maryat Lee.","This series contains nine paintings by Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29.","Material moved to A\u0026M 3300 B54/F21","Material moved to B48/I1","Material moved to A\u0026M 3300 B54/F2","Material moved to A\u0026M 3300 B54/F3","Material moved to A\u0026M 3300 B51/F2","Material moved to A\u0026M 3300 B45/F5, B54/F4","Material moved to A\u0026M 3300 B45/F6","Material moved to A\u0026M 3300 B45/F7","Material moved to A\u0026M 3300 B54/F5","Material moved to A\u0026M 3300 B52/F2","Material moved to A\u0026M 3300 B54/F6","Material moved to A\u0026M 3300 B52/F3","Material moved to A\u0026M 3300 B45/F8","Material moved to A\u0026M 3300 B45/F9","Material moved to A\u0026M 3300 B45/F12","Material moved to A\u0026M 3300 B45/F13","Material moved to A\u0026M 3300 B45/F15","Material moved to A\u0026M 3300 B51/F6","Material moved to A\u0026M 3300 B45/F16","Material moved to A\u0026M 3300 B45/F17, B51/F7","Material moved to A\u0026M 3300 B45/F18","Material moved to A\u0026M 3300 B45/F19","Material moved to A\u0026M 3300 B45/F20","Material moved to A\u0026M 3300 B54/F7, B45/F21-24, B51/F8","Material moved to A\u0026M 3300 B45/F25-27","Material moved to A\u0026M 3300 B45/F28-31, B46/F1-2, B50/F3-4, 19","Material moved to A\u0026M 3300 B54/F13","Material moved to A\u0026M 3300 B46/F3","Material moved to A\u0026M 3300 B54/F8","Material moved to A\u0026M 3300 B54/F9","Material moved to A\u0026M 3300 B54/F10","Material moved to A\u0026M 3300 B54/F11","Material moved to A\u0026M 3300 B54/F12","Material moved to A\u0026M 3300 B50/F5","Material moved to A\u0026M 3300 B50/F6","Material moved to A\u0026M 3300 B54/F14","Material moved to A\u0026M 3300 B50/F7","Material moved to A\u0026M 3300 B46/F4","Material moved to A\u0026M 3300 B20/F63","Material moved to A\u0026M 3300 B54/F16","Material moved to A\u0026M 3300 B54/F17","Material moved to A\u0026M 3300 B46/F6","Material moved to A\u0026M 3300 B46/F7","Material moved to A\u0026M 3300 B46/F8","Material moved to A\u0026M 3300 B46/F9","Material moved to A\u0026M 3300 B46/F10","Material moved to A\u0026M 3300 B46/F11","Material moved to A\u0026M 3300 B46/F13-19","Material moved to A\u0026M 3300 B46/F20","Material moved to A\u0026M 3300 B46/F21-24","Material moved to A\u0026M 3300 B46/F28","Material moved to A\u0026M 3300 B46/F29, B50/F8","Material moved to A\u0026M 3300 B54/F18","Material moved to A\u0026M 3300 B46/F30","Material moved to A\u0026M 3300 B50/F9-11, B46/F33","Material moved to A\u0026M 3300 B46/F34","Material moved to A\u0026M 3300 B46/F35","Material moved to A\u0026M 3300 B46/F36","Material moved to A\u0026M3300 B26/F12","Material moved to A\u0026M 3300 B46/F38","Material moved to A\u0026M 3300 B46/F39","Material moved to A\u0026M 3300 B46/F40","Material moved to A\u0026M3300 B55/F3","Material moved to A\u0026M 3300 B50/F12","Material moved to A\u0026M 3300 B46/F42","Material moved to A\u0026M 3300 B53/F4","Material moved to A\u0026M 3300 B46/F43","Material moved to A\u0026M 3300 F46/F44","Material moved to A\u0026M 3300 B46/F45","Material moved to A\u0026M 3300 B54/F20","Material moved to A\u0026M 3300 B46/F46","Material moved to A\u0026M 3300 B53/F1","Material moved to A\u0026M 3300 B46/F47","Material moved to A\u0026M 3300 B52/F4","Material moved to A\u0026M 3300 B46/F48","Material moved to A\u0026M 3300 B50/F13","Material moved to A\u0026M 3300 B54/F21","Material moved to A\u0026M 3300 B47/F10","Material moved to A\u0026M 3300 B54/F23","Material moved to A\u0026M 3300 B47/F11","Material moved to A\u0026M 3300 B54/F24","Material moved to A\u0026M 3300 B47/F12","Material moved to A\u0026M 3300 B50/F15","Material moved to A\u0026M 3300 B47/F13","Material moved to A\u0026M 3300 B54/F26","Material moved to A\u0026M 3300 B54/F27","Material moved to A\u0026M 3300 B47/F26","Material moved to A\u0026M 3300 B47/F27","Material moved to A\u0026M 3300 B50/F17","Material moved to A\u0026M 3300 B50/F18","Material moved to A\u0026M 3300 B50/F20","Removed from A\u0026M 3300 B11","Removed from A\u0026M 3300 B12","Removed from A\u0026M 3300 B15","Removed from A\u0026M 3300 B17/F1f","Removed from A\u0026M 3300 B17/F1g","Removed from A\u0026M 3300 B17/F1h","Removed from A\u0026M 3300 B17/F4h","Removed from A\u0026M 3300 B18/F15","Removed from A\u0026M 3300 B18","Removed from A\u0026M 3300 B18/F17","Removed from A\u0026M 3300 B18/F21","Removed from A\u0026M 3300 B18","Removed from A\u0026M 3300 B19/F6","Removed from A\u0026M 3300 B19/F10a","Removed from A\u0026M 3300 B19/F12","Removed from A\u0026M 3300 B19/F13a","Removed from A\u0026M 3300 B19/F16","Removed from A\u0026M 3300 B19/F22","Removed from A\u0026M 3300 B19/F26","Removed from A\u0026M 3300 B19/F29","Removed from A\u0026M 3300 B19/F31","Removed from A\u0026M 3300 B19/F34","Removed from A\u0026M 3300 B20/F12","Removed from A\u0026M 3300 B20/F14","Removed from A\u0026M 3300 B20/F16","Removed from A\u0026M 3300 B20/F20","Removed from A\u0026M 3300 B20/F21","Removed from A\u0026M 3300 B20/F22","Removed from A\u0026M 3300 B20/F24","Removed from A\u0026M 3300 B20/F25","Removed from A\u0026M 3300 B20/F26","Removed from A\u0026M 3300 B20/F37","Removed from A\u0026M 3300 B20/F59","Removed from A\u0026M 3300 B20/F63","Removed from A\u0026M 3300 B21/F1","Removed from A\u0026M 3300 B21/F2","Removed from A\u0026M 3300 B21/F3","Removed from A\u0026M 3300 B21/F5","Removed from A\u0026M 3300 B21/F11","Removed from A\u0026M 3300 B21/F36","Removed from A\u0026M 3300 B22/F12a","Removed from A\u0026M 3300 B23/F15","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B23/F31","Removed from A\u0026M 3300 B26/F1","Removed from A\u0026M 3300 B26/F4","Removed from A\u0026M 3300 B26/F6","Removed from A\u0026M 3300 B26/F12","Removed from A\u0026M 3300 B26/F35","Removed from A\u0026M 3300 B26/F48","Removed from A\u0026M 3300 B27/F3","Removed from A\u0026M 3300 B31/F7","Removed from A\u0026M 3300 B31/F24","Removed from A\u0026M 3300 B31/F44","Removed from A\u0026M 3300 B31/F45","Removed from A\u0026M 3300 B32/F9","Removed from A\u0026M 3300 B33/F25","Removed from A\u0026M 3300 B33/F33","Removed from A\u0026M 3300 B34/F3","Removed from A\u0026M 3300 B34/F23","Removed from A\u0026M 3300 B36/F8","Removed from A\u0026M 3300 B36/F31","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B39/F16a","Removed from A\u0026M 3300 B1/F1","Removed from A\u0026M 3300 B20","Removed from A\u0026M 3300 B20/F23","Removed from A\u0026M 3300 B20/F25","Removed from A\u0026M 3300 B20/F51","Removed from A\u0026M 3300 B20/F52","Removed from A\u0026M 3300 B20/F58","Removed from A\u0026M 3300 B22/F12b","Removed from A\u0026M 3300 B23/F25","Removed from A\u0026M 3300 B23/F28","Removed from A\u0026M 3300 B23/F29","Removed from A\u0026M 3300 B31/F19","Removed from A\u0026M 3300 B34/F30b","Removed from A\u0026M 3300 B39/F24","Removed from A\u0026M 3300 B39/F25","Removed from A\u0026M 3300 B20/F21","Removed from A\u0026M 3300 B39/F32","Removed from A\u0026M 3300 B40","Removed from A\u0026M 3300 [Add. 1998/07/22] B60","Removed from A\u0026M 3300 B11","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B19/F9","Removed from A\u0026M 3300 B19/F12","Removed from A\u0026M 3300 B19/F34","Removed from A\u0026M 3300 B17/F2l","Removed from A\u0026M 3300 B17/F4f","Removed from A\u0026M 3300 B33/F35","Removed from A\u0026M 3300 B31/F28","Removed from A\u0026M 3300 B1","Removed from A\u0026M 3300 B11/F22","Removed from A\u0026M 3300 B17/F1f","Removed from A\u0026M 3300 B17/F2i","Removed from A\u0026M 3300 B17/F2q","Removed from A\u0026M 3300 B19/F25","Removed from A\u0026M 3300 B20/F44","Removed from A\u0026M 3300 B20/F45","Removed from A\u0026M 3300 B20/F46","Removed from A\u0026M 3300 B20/F48","Removed from A\u0026M 3300 B20/F49","Removed from A\u0026M 3300 B20/F53","Removed from A\u0026M 3300 B20/F54","Removed from A\u0026M 3300 B20","Removed from A\u0026M 3300 B20/F65","Removed from A\u0026M 3300 B20/F66","Removed from A\u0026M 3300 B22/F15","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B32/F34","Removed from A\u0026M 3300 B35/F1j","Removed from A\u0026M 3300 B35/F28","Removed from A\u0026M 3300 B36/F6","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B38/F31","Removed from A\u0026M 3300 B38/F43","Removed from A\u0026M 3300 B40/F13","Removed from A\u0026M 3300 B32","Removed from A\u0026M3300 B31/F5","Material moved to A\u0026M 3300 B65/F3","Material moved to A\u0026M 3300 B64/F7","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63/F17","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63/F3","Removed from A\u0026M 3300 B63/F15","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Material moved to oversized, B50/F1","Material moved to A\u0026M 3300 B45/F1","Material moved to A\u0026M 3300 B45/F11","Material moved to A\u0026M 3300 B46/F25-26","Material moved to A\u0026M 3300 B46/F27","Material moved to A\u0026M 3300 B46/F41","Material moved to A\u0026M 3300 B47/F2-3","Material moved to A\u0026M 3300 B50/F14","Material moved to A\u0026M 3300 B47/F4, B52/F5","Material moved to A\u0026M 3300 B47/F5","Material moved to A\u0026M 3300 B47/F6-7","Material moved to A\u0026M 3300 B47/F8","Material moved to A\u0026M 3300 B53/F2, B47/F9, B54/F22","Material moved to A\u0026M 3300 B47/F18","Material moved to A\u0026M 3300 B47/F19-21","Material moved to A\u0026M 3300 B47/F23","Material moved to A\u0026M 3300 B47/F24","Material moved to A\u0026M 3300 B53/F3","Material moved to A\u0026M 3300 B47/F28","Removed from A\u0026M 3300 B11/F27","Removed from A\u0026M 3300 B18/F16","Removed from A\u0026M 3300 B21/F56","Removed from A\u0026M 3300 B22/F2","Removed from A\u0026M 3300 B35/F2-3a","Removed from A\u0026M 3300 B35/F8","Removed from A\u0026M 3300 B35/F10","Removed from A\u0026M 3300 B35/F11-12","Removed from A\u0026M 3300 B35/F13","Removed from A\u0026M 3300 B35/F16","Removed from A\u0026M 3300 B35/F26","Removed from A\u0026M 3300 B36/F3","Removed from A\u0026M 3300 B37/F59-60","Removed from A\u0026M 3300 B37/F61","Removed from A\u0026M 3300 B37/F62","Removed from A\u0026M 3300 B38","Removed from A\u0026M 3300 B38/F49","Removed from A\u0026M 3300 B38/F51","Removed from A\u0026M 3300 B39/F11","Removed from A\u0026M 3300 B39/F13","Removed from A\u0026M 3300 B40/F4","Removed from A\u0026M 3300 B7/F34","Removed from A\u0026M 3300 B8","Removed from A\u0026M 3300 B35/F6","Removed from A\u0026M 3300 B36/F30","Removed from A\u0026M 3300 B38","Removed from A\u0026M 3300 B11/F23","Removed from A\u0026M 3300 B35/F9","Removed from A\u0026M 3300 B33/F26","Removed from A\u0026M 3300 B35/F15","Removed from A\u0026M 3300 B40/F3","Removed from A\u0026M 3300 B11/F21","Removed from A\u0026M 3300 B35/F17","Removed from A\u0026M3300 B38","Removed from A\u0026M 3300 B31, B29","Removed from A\u0026M 3300 B30","Removed from A\u0026M 3300 B26","Material moved to A\u0026M 3300 B65/F2","Material moved to A\u0026M 3300 B64/F3","Material removed from A\u0026M 3300 B63/F18","Material removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert","English \n.    "],"unitid_tesim":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"normalized_title_ssm":["Maryat Lee, Playwright, Papers"],"collection_title_tesim":["Maryat Lee, Playwright, Papers"],"collection_ssim":["Maryat Lee, Playwright, Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Hinton (W. Va.)","New York (N.Y.)"],"geogname_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"creator_ssm":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"creator_corpname_ssim":["West Virginia University. Art Museum"],"creators_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"places_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift from Lee, Robert, 1998 June 5. ","Gift from Lee, Robert, 1998 July 11.","Transfer from West Virginia University Art Museum, 2022 April 29."],"access_subjects_ssim":["West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"access_subjects_ssm":["West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"has_online_content_ssim":["false"],"extent_ssm":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"extent_tesim":["63.54 Linear Feet 63 ft. 6.5 in. 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"],"bioghist_html_tesm":["\u003cp\u003eMaryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  \u003c/p\u003e\n","\u003cp\u003eMaryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. \u003c/p\u003e\n","\u003cp\u003eShe graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.\u003c/p\u003e\n","\u003cp\u003eIn the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  \u003c/p\u003e\n","\u003cp\u003eInspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play, \u003ctitle\u003eDOPE!\u003c/title\u003e which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. \u003c/p\u003e\n","\u003cp\u003eIn 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   \u003c/p\u003e\n","\u003cp\u003eIn 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.\u003c/p\u003e\n","\u003cp\u003eShe founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. \u003c/p\u003e\n","\u003cp\u003eSoon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  \u003c/p\u003e\n","\u003cp\u003eIn 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  \u003c/p\u003e\n","\u003cp\u003eDuring this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including \u003ctitle\u003eJohn Henry\u003c/title\u003e and \u003ctitle\u003eOle Miz Dacey\u003c/title\u003e. Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  \u003c/p\u003e\n","\u003cp\u003eEcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with \u003ctitle\u003eDOPE!\u003c/title\u003e and SALT, used non-actors in its performances.  \u003c/p\u003e\n","\u003cp\u003eIn 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. \u003c/p\u003e\n","\u003cp\u003eMaryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026amp;M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. \u003c/p\u003e\n","\u003cp\u003eMaterials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. \u003c/p\u003e\n","\u003cp\u003eSeries 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. \u003c/p\u003e\n","\u003cp\u003eSeries 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. \u003c/p\u003e\n","\u003cp\u003eSeries 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.\u003c/p\u003e\n","\u003cp\u003eSeries 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.\u003c/p\u003e\n","\u003cp\u003eSeries 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. \u003c/p\u003e\n","\u003cp\u003eThis collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. \u003c/p\u003e\n","\u003cp\u003eSelect audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e","\u003cp\u003eThis series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts.\u003c/p\u003e","\u003cp\u003eThis series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing.\u003c/p\u003e","\u003cp\u003eThis series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. 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Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eCassette Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eVHS Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eReel-to-reel Tape\u003c/p\u003e","\u003cp\u003eDVD\u003c/p\u003e","\u003cp\u003eThis series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.\u003c/p\u003e","\u003cp\u003eThis series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.\u003c/p\u003e","\u003cp\u003eIncludes cassette tape labeled (\"Dr. Pfieffer\", October 28 1983)\u003c/p\u003e","\u003cp\u003eThis series contains published plays collected, but not written, by Maryat Lee.\u003c/p\u003e","\u003cp\u003eThis series contains nine paintings by Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and 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Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts.","This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing.","This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","DVD","This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","Includes cassette tape labeled (\"Dr. Pfieffer\", October 28 1983)","This series contains published plays collected, but not written, by Maryat Lee.","This series contains nine paintings by Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29."],"separatedmaterial_html_tesm":["\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F21\u003c/p\u003e","\u003cp\u003eMaterial moved to B48/I1\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F2\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F3\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B51/F2\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B45/F5, B54/F4\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B45/F6\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B45/F7\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F5\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B52/F2\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F6\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B52/F3\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 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A\u0026M 3300 B20/F26","Removed from A\u0026M 3300 B20/F37","Removed from A\u0026M 3300 B20/F59","Removed from A\u0026M 3300 B20/F63","Removed from A\u0026M 3300 B21/F1","Removed from A\u0026M 3300 B21/F2","Removed from A\u0026M 3300 B21/F3","Removed from A\u0026M 3300 B21/F5","Removed from A\u0026M 3300 B21/F11","Removed from A\u0026M 3300 B21/F36","Removed from A\u0026M 3300 B22/F12a","Removed from A\u0026M 3300 B23/F15","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B23/F31","Removed from A\u0026M 3300 B26/F1","Removed from A\u0026M 3300 B26/F4","Removed from A\u0026M 3300 B26/F6","Removed from A\u0026M 3300 B26/F12","Removed from A\u0026M 3300 B26/F35","Removed from A\u0026M 3300 B26/F48","Removed from A\u0026M 3300 B27/F3","Removed from A\u0026M 3300 B31/F7","Removed from A\u0026M 3300 B31/F24","Removed from A\u0026M 3300 B31/F44","Removed from A\u0026M 3300 B31/F45","Removed from A\u0026M 3300 B32/F9","Removed from A\u0026M 3300 B33/F25","Removed from A\u0026M 3300 B33/F33","Removed from A\u0026M 3300 B34/F3","Removed from A\u0026M 3300 B34/F23","Removed from A\u0026M 3300 B36/F8","Removed from A\u0026M 3300 B36/F31","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B39/F16a","Removed from A\u0026M 3300 B1/F1","Removed from A\u0026M 3300 B20","Removed from A\u0026M 3300 B20/F23","Removed from A\u0026M 3300 B20/F25","Removed from A\u0026M 3300 B20/F51","Removed from A\u0026M 3300 B20/F52","Removed from A\u0026M 3300 B20/F58","Removed from A\u0026M 3300 B22/F12b","Removed from A\u0026M 3300 B23/F25","Removed from A\u0026M 3300 B23/F28","Removed from A\u0026M 3300 B23/F29","Removed from A\u0026M 3300 B31/F19","Removed from A\u0026M 3300 B34/F30b","Removed from A\u0026M 3300 B39/F24","Removed from A\u0026M 3300 B39/F25","Removed from A\u0026M 3300 B20/F21","Removed from A\u0026M 3300 B39/F32","Removed from A\u0026M 3300 B40","Removed from A\u0026M 3300 [Add. 1998/07/22] B60","Removed from A\u0026M 3300 B11","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B19/F9","Removed from A\u0026M 3300 B19/F12","Removed from A\u0026M 3300 B19/F34","Removed from A\u0026M 3300 B17/F2l","Removed from A\u0026M 3300 B17/F4f","Removed from A\u0026M 3300 B33/F35","Removed from A\u0026M 3300 B31/F28","Removed from A\u0026M 3300 B1","Removed from A\u0026M 3300 B11/F22","Removed from A\u0026M 3300 B17/F1f","Removed from A\u0026M 3300 B17/F2i","Removed from A\u0026M 3300 B17/F2q","Removed from A\u0026M 3300 B19/F25","Removed from A\u0026M 3300 B20/F44","Removed from A\u0026M 3300 B20/F45","Removed from A\u0026M 3300 B20/F46","Removed from A\u0026M 3300 B20/F48","Removed from A\u0026M 3300 B20/F49","Removed from A\u0026M 3300 B20/F53","Removed from A\u0026M 3300 B20/F54","Removed from A\u0026M 3300 B20","Removed from A\u0026M 3300 B20/F65","Removed from A\u0026M 3300 B20/F66","Removed from A\u0026M 3300 B22/F15","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B32/F34","Removed from A\u0026M 3300 B35/F1j","Removed from A\u0026M 3300 B35/F28","Removed from A\u0026M 3300 B36/F6","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B38/F31","Removed from A\u0026M 3300 B38/F43","Removed from A\u0026M 3300 B40/F13","Removed from A\u0026M 3300 B32","Removed from A\u0026M3300 B31/F5","Material moved to A\u0026M 3300 B65/F3","Material moved to A\u0026M 3300 B64/F7","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63/F17","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63/F3","Removed from A\u0026M 3300 B63/F15","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Material moved to oversized, B50/F1","Material moved to A\u0026M 3300 B45/F1","Material moved to A\u0026M 3300 B45/F11","Material moved to A\u0026M 3300 B46/F25-26","Material moved to A\u0026M 3300 B46/F27","Material moved to A\u0026M 3300 B46/F41","Material moved to A\u0026M 3300 B47/F2-3","Material moved to A\u0026M 3300 B50/F14","Material moved to A\u0026M 3300 B47/F4, B52/F5","Material moved to A\u0026M 3300 B47/F5","Material moved to A\u0026M 3300 B47/F6-7","Material moved to A\u0026M 3300 B47/F8","Material moved to A\u0026M 3300 B53/F2, B47/F9, B54/F22","Material moved to A\u0026M 3300 B47/F18","Material moved to A\u0026M 3300 B47/F19-21","Material moved to A\u0026M 3300 B47/F23","Material moved to A\u0026M 3300 B47/F24","Material moved to A\u0026M 3300 B53/F3","Material moved to A\u0026M 3300 B47/F28","Removed from A\u0026M 3300 B11/F27","Removed from A\u0026M 3300 B18/F16","Removed from A\u0026M 3300 B21/F56","Removed from A\u0026M 3300 B22/F2","Removed from A\u0026M 3300 B35/F2-3a","Removed from A\u0026M 3300 B35/F8","Removed from A\u0026M 3300 B35/F10","Removed from A\u0026M 3300 B35/F11-12","Removed from A\u0026M 3300 B35/F13","Removed from A\u0026M 3300 B35/F16","Removed from A\u0026M 3300 B35/F26","Removed from A\u0026M 3300 B36/F3","Removed from A\u0026M 3300 B37/F59-60","Removed from A\u0026M 3300 B37/F61","Removed from A\u0026M 3300 B37/F62","Removed from A\u0026M 3300 B38","Removed from A\u0026M 3300 B38/F49","Removed from A\u0026M 3300 B38/F51","Removed from A\u0026M 3300 B39/F11","Removed from A\u0026M 3300 B39/F13","Removed from A\u0026M 3300 B40/F4","Removed from A\u0026M 3300 B7/F34","Removed from A\u0026M 3300 B8","Removed from A\u0026M 3300 B35/F6","Removed from A\u0026M 3300 B36/F30","Removed from A\u0026M 3300 B38","Removed from A\u0026M 3300 B11/F23","Removed from A\u0026M 3300 B35/F9","Removed from A\u0026M 3300 B33/F26","Removed from A\u0026M 3300 B35/F15","Removed from A\u0026M 3300 B40/F3","Removed from A\u0026M 3300 B11/F21","Removed from A\u0026M 3300 B35/F17","Removed from A\u0026M3300 B38","Removed from A\u0026M 3300 B31, B29","Removed from A\u0026M 3300 B30","Removed from A\u0026M 3300 B26","Material moved to A\u0026M 3300 B65/F2","Material moved to A\u0026M 3300 B64/F3","Material removed from A\u0026M 3300 B63/F18","Material removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63"],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_41a071f25400b148208ada4216a47db7\"\u003eMaryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.\u003c/abstract\u003e"],"abstract_tesim":["Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_59b034a3f262570e93a472c5cb053744\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum"],"persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1537,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:42.135Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1610","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1610.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195886","title_ssm":["Maryat Lee, Playwright, Papers"],"title_tesim":["Maryat Lee, Playwright, Papers"],"unitdate_ssm":["1902-1997","1951-1989"],"unitdate_bulk_ssim":["1951-1989"],"unitdate_inclusive_ssm":["1902-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"text":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610","Maryat Lee, Playwright, Papers","Hinton (W. Va.)","New York (N.Y.)","West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization","No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. ","Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  ","This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts.","This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing.","This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","DVD","This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","Includes cassette tape labeled (\"Dr. Pfieffer\", October 28 1983)","This series contains published plays collected, but not written, by Maryat Lee.","This series contains nine paintings by Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29.","Material moved to A\u0026M 3300 B54/F21","Material moved to B48/I1","Material moved to A\u0026M 3300 B54/F2","Material moved to A\u0026M 3300 B54/F3","Material moved to A\u0026M 3300 B51/F2","Material moved to A\u0026M 3300 B45/F5, B54/F4","Material moved to A\u0026M 3300 B45/F6","Material moved to A\u0026M 3300 B45/F7","Material moved to A\u0026M 3300 B54/F5","Material moved to A\u0026M 3300 B52/F2","Material moved to A\u0026M 3300 B54/F6","Material moved to A\u0026M 3300 B52/F3","Material moved to A\u0026M 3300 B45/F8","Material moved to A\u0026M 3300 B45/F9","Material moved to A\u0026M 3300 B45/F12","Material moved to A\u0026M 3300 B45/F13","Material moved to A\u0026M 3300 B45/F15","Material moved to A\u0026M 3300 B51/F6","Material moved to A\u0026M 3300 B45/F16","Material moved to A\u0026M 3300 B45/F17, B51/F7","Material moved to A\u0026M 3300 B45/F18","Material moved to A\u0026M 3300 B45/F19","Material moved to A\u0026M 3300 B45/F20","Material moved to A\u0026M 3300 B54/F7, B45/F21-24, B51/F8","Material moved to A\u0026M 3300 B45/F25-27","Material moved to A\u0026M 3300 B45/F28-31, B46/F1-2, B50/F3-4, 19","Material moved to A\u0026M 3300 B54/F13","Material moved to A\u0026M 3300 B46/F3","Material moved to A\u0026M 3300 B54/F8","Material moved to A\u0026M 3300 B54/F9","Material moved to A\u0026M 3300 B54/F10","Material moved to A\u0026M 3300 B54/F11","Material moved to A\u0026M 3300 B54/F12","Material moved to A\u0026M 3300 B50/F5","Material moved to A\u0026M 3300 B50/F6","Material moved to A\u0026M 3300 B54/F14","Material moved to A\u0026M 3300 B50/F7","Material moved to A\u0026M 3300 B46/F4","Material moved to A\u0026M 3300 B20/F63","Material moved to A\u0026M 3300 B54/F16","Material moved to A\u0026M 3300 B54/F17","Material moved to A\u0026M 3300 B46/F6","Material moved to A\u0026M 3300 B46/F7","Material moved to A\u0026M 3300 B46/F8","Material moved to A\u0026M 3300 B46/F9","Material moved to A\u0026M 3300 B46/F10","Material moved to A\u0026M 3300 B46/F11","Material moved to A\u0026M 3300 B46/F13-19","Material moved to A\u0026M 3300 B46/F20","Material moved to A\u0026M 3300 B46/F21-24","Material moved to A\u0026M 3300 B46/F28","Material moved to A\u0026M 3300 B46/F29, B50/F8","Material moved to A\u0026M 3300 B54/F18","Material moved to A\u0026M 3300 B46/F30","Material moved to A\u0026M 3300 B50/F9-11, B46/F33","Material moved to A\u0026M 3300 B46/F34","Material moved to A\u0026M 3300 B46/F35","Material moved to A\u0026M 3300 B46/F36","Material moved to A\u0026M3300 B26/F12","Material moved to A\u0026M 3300 B46/F38","Material moved to A\u0026M 3300 B46/F39","Material moved to A\u0026M 3300 B46/F40","Material moved to A\u0026M3300 B55/F3","Material moved to A\u0026M 3300 B50/F12","Material moved to A\u0026M 3300 B46/F42","Material moved to A\u0026M 3300 B53/F4","Material moved to A\u0026M 3300 B46/F43","Material moved to A\u0026M 3300 F46/F44","Material moved to A\u0026M 3300 B46/F45","Material moved to A\u0026M 3300 B54/F20","Material moved to A\u0026M 3300 B46/F46","Material moved to A\u0026M 3300 B53/F1","Material moved to A\u0026M 3300 B46/F47","Material moved to A\u0026M 3300 B52/F4","Material moved to A\u0026M 3300 B46/F48","Material moved to A\u0026M 3300 B50/F13","Material moved to A\u0026M 3300 B54/F21","Material moved to A\u0026M 3300 B47/F10","Material moved to A\u0026M 3300 B54/F23","Material moved to A\u0026M 3300 B47/F11","Material moved to A\u0026M 3300 B54/F24","Material moved to A\u0026M 3300 B47/F12","Material moved to A\u0026M 3300 B50/F15","Material moved to A\u0026M 3300 B47/F13","Material moved to A\u0026M 3300 B54/F26","Material moved to A\u0026M 3300 B54/F27","Material moved to A\u0026M 3300 B47/F26","Material moved to A\u0026M 3300 B47/F27","Material moved to A\u0026M 3300 B50/F17","Material moved to A\u0026M 3300 B50/F18","Material moved to A\u0026M 3300 B50/F20","Removed from A\u0026M 3300 B11","Removed from A\u0026M 3300 B12","Removed from A\u0026M 3300 B15","Removed from A\u0026M 3300 B17/F1f","Removed from A\u0026M 3300 B17/F1g","Removed from A\u0026M 3300 B17/F1h","Removed from A\u0026M 3300 B17/F4h","Removed from A\u0026M 3300 B18/F15","Removed from A\u0026M 3300 B18","Removed from A\u0026M 3300 B18/F17","Removed from A\u0026M 3300 B18/F21","Removed from A\u0026M 3300 B18","Removed from A\u0026M 3300 B19/F6","Removed from A\u0026M 3300 B19/F10a","Removed from A\u0026M 3300 B19/F12","Removed from A\u0026M 3300 B19/F13a","Removed from A\u0026M 3300 B19/F16","Removed from A\u0026M 3300 B19/F22","Removed from A\u0026M 3300 B19/F26","Removed from A\u0026M 3300 B19/F29","Removed from A\u0026M 3300 B19/F31","Removed from A\u0026M 3300 B19/F34","Removed from A\u0026M 3300 B20/F12","Removed from A\u0026M 3300 B20/F14","Removed from A\u0026M 3300 B20/F16","Removed from A\u0026M 3300 B20/F20","Removed from A\u0026M 3300 B20/F21","Removed from A\u0026M 3300 B20/F22","Removed from A\u0026M 3300 B20/F24","Removed from A\u0026M 3300 B20/F25","Removed from A\u0026M 3300 B20/F26","Removed from A\u0026M 3300 B20/F37","Removed from A\u0026M 3300 B20/F59","Removed from A\u0026M 3300 B20/F63","Removed from A\u0026M 3300 B21/F1","Removed from A\u0026M 3300 B21/F2","Removed from A\u0026M 3300 B21/F3","Removed from A\u0026M 3300 B21/F5","Removed from A\u0026M 3300 B21/F11","Removed from A\u0026M 3300 B21/F36","Removed from A\u0026M 3300 B22/F12a","Removed from A\u0026M 3300 B23/F15","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B23/F31","Removed from A\u0026M 3300 B26/F1","Removed from A\u0026M 3300 B26/F4","Removed from A\u0026M 3300 B26/F6","Removed from A\u0026M 3300 B26/F12","Removed from A\u0026M 3300 B26/F35","Removed from A\u0026M 3300 B26/F48","Removed from A\u0026M 3300 B27/F3","Removed from A\u0026M 3300 B31/F7","Removed from A\u0026M 3300 B31/F24","Removed from A\u0026M 3300 B31/F44","Removed from A\u0026M 3300 B31/F45","Removed from A\u0026M 3300 B32/F9","Removed from A\u0026M 3300 B33/F25","Removed from A\u0026M 3300 B33/F33","Removed from A\u0026M 3300 B34/F3","Removed from A\u0026M 3300 B34/F23","Removed from A\u0026M 3300 B36/F8","Removed from A\u0026M 3300 B36/F31","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B39/F16a","Removed from A\u0026M 3300 B1/F1","Removed from A\u0026M 3300 B20","Removed from A\u0026M 3300 B20/F23","Removed from A\u0026M 3300 B20/F25","Removed from A\u0026M 3300 B20/F51","Removed from A\u0026M 3300 B20/F52","Removed from A\u0026M 3300 B20/F58","Removed from A\u0026M 3300 B22/F12b","Removed from A\u0026M 3300 B23/F25","Removed from A\u0026M 3300 B23/F28","Removed from A\u0026M 3300 B23/F29","Removed from A\u0026M 3300 B31/F19","Removed from A\u0026M 3300 B34/F30b","Removed from A\u0026M 3300 B39/F24","Removed from A\u0026M 3300 B39/F25","Removed from A\u0026M 3300 B20/F21","Removed from A\u0026M 3300 B39/F32","Removed from A\u0026M 3300 B40","Removed from A\u0026M 3300 [Add. 1998/07/22] B60","Removed from A\u0026M 3300 B11","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B19/F9","Removed from A\u0026M 3300 B19/F12","Removed from A\u0026M 3300 B19/F34","Removed from A\u0026M 3300 B17/F2l","Removed from A\u0026M 3300 B17/F4f","Removed from A\u0026M 3300 B33/F35","Removed from A\u0026M 3300 B31/F28","Removed from A\u0026M 3300 B1","Removed from A\u0026M 3300 B11/F22","Removed from A\u0026M 3300 B17/F1f","Removed from A\u0026M 3300 B17/F2i","Removed from A\u0026M 3300 B17/F2q","Removed from A\u0026M 3300 B19/F25","Removed from A\u0026M 3300 B20/F44","Removed from A\u0026M 3300 B20/F45","Removed from A\u0026M 3300 B20/F46","Removed from A\u0026M 3300 B20/F48","Removed from A\u0026M 3300 B20/F49","Removed from A\u0026M 3300 B20/F53","Removed from A\u0026M 3300 B20/F54","Removed from A\u0026M 3300 B20","Removed from A\u0026M 3300 B20/F65","Removed from A\u0026M 3300 B20/F66","Removed from A\u0026M 3300 B22/F15","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B32/F34","Removed from A\u0026M 3300 B35/F1j","Removed from A\u0026M 3300 B35/F28","Removed from A\u0026M 3300 B36/F6","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B38/F31","Removed from A\u0026M 3300 B38/F43","Removed from A\u0026M 3300 B40/F13","Removed from A\u0026M 3300 B32","Removed from A\u0026M3300 B31/F5","Material moved to A\u0026M 3300 B65/F3","Material moved to A\u0026M 3300 B64/F7","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63/F17","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63/F3","Removed from A\u0026M 3300 B63/F15","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Material moved to oversized, B50/F1","Material moved to A\u0026M 3300 B45/F1","Material moved to A\u0026M 3300 B45/F11","Material moved to A\u0026M 3300 B46/F25-26","Material moved to A\u0026M 3300 B46/F27","Material moved to A\u0026M 3300 B46/F41","Material moved to A\u0026M 3300 B47/F2-3","Material moved to A\u0026M 3300 B50/F14","Material moved to A\u0026M 3300 B47/F4, B52/F5","Material moved to A\u0026M 3300 B47/F5","Material moved to A\u0026M 3300 B47/F6-7","Material moved to A\u0026M 3300 B47/F8","Material moved to A\u0026M 3300 B53/F2, B47/F9, B54/F22","Material moved to A\u0026M 3300 B47/F18","Material moved to A\u0026M 3300 B47/F19-21","Material moved to A\u0026M 3300 B47/F23","Material moved to A\u0026M 3300 B47/F24","Material moved to A\u0026M 3300 B53/F3","Material moved to A\u0026M 3300 B47/F28","Removed from A\u0026M 3300 B11/F27","Removed from A\u0026M 3300 B18/F16","Removed from A\u0026M 3300 B21/F56","Removed from A\u0026M 3300 B22/F2","Removed from A\u0026M 3300 B35/F2-3a","Removed from A\u0026M 3300 B35/F8","Removed from A\u0026M 3300 B35/F10","Removed from A\u0026M 3300 B35/F11-12","Removed from A\u0026M 3300 B35/F13","Removed from A\u0026M 3300 B35/F16","Removed from A\u0026M 3300 B35/F26","Removed from A\u0026M 3300 B36/F3","Removed from A\u0026M 3300 B37/F59-60","Removed from A\u0026M 3300 B37/F61","Removed from A\u0026M 3300 B37/F62","Removed from A\u0026M 3300 B38","Removed from A\u0026M 3300 B38/F49","Removed from A\u0026M 3300 B38/F51","Removed from A\u0026M 3300 B39/F11","Removed from A\u0026M 3300 B39/F13","Removed from A\u0026M 3300 B40/F4","Removed from A\u0026M 3300 B7/F34","Removed from A\u0026M 3300 B8","Removed from A\u0026M 3300 B35/F6","Removed from A\u0026M 3300 B36/F30","Removed from A\u0026M 3300 B38","Removed from A\u0026M 3300 B11/F23","Removed from A\u0026M 3300 B35/F9","Removed from A\u0026M 3300 B33/F26","Removed from A\u0026M 3300 B35/F15","Removed from A\u0026M 3300 B40/F3","Removed from A\u0026M 3300 B11/F21","Removed from A\u0026M 3300 B35/F17","Removed from A\u0026M3300 B38","Removed from A\u0026M 3300 B31, B29","Removed from A\u0026M 3300 B30","Removed from A\u0026M 3300 B26","Material moved to A\u0026M 3300 B65/F2","Material moved to A\u0026M 3300 B64/F3","Material removed from A\u0026M 3300 B63/F18","Material removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert","English \n.    "],"unitid_tesim":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"normalized_title_ssm":["Maryat Lee, Playwright, Papers"],"collection_title_tesim":["Maryat Lee, Playwright, Papers"],"collection_ssim":["Maryat Lee, Playwright, Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Hinton (W. Va.)","New York (N.Y.)"],"geogname_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"creator_ssm":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"creator_corpname_ssim":["West Virginia University. Art Museum"],"creators_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"places_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift from Lee, Robert, 1998 June 5. ","Gift from Lee, Robert, 1998 July 11.","Transfer from West Virginia University Art Museum, 2022 April 29."],"access_subjects_ssim":["West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"access_subjects_ssm":["West Virginia Feminist Activist and Women's History Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"has_online_content_ssim":["false"],"extent_ssm":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"extent_tesim":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e\n","\u003cp\u003eResearchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. "],"bioghist_html_tesm":["\u003cp\u003eMaryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  \u003c/p\u003e\n","\u003cp\u003eMaryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. \u003c/p\u003e\n","\u003cp\u003eShe graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.\u003c/p\u003e\n","\u003cp\u003eIn the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  \u003c/p\u003e\n","\u003cp\u003eInspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play, \u003ctitle\u003eDOPE!\u003c/title\u003e which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. \u003c/p\u003e\n","\u003cp\u003eIn 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   \u003c/p\u003e\n","\u003cp\u003eIn 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.\u003c/p\u003e\n","\u003cp\u003eShe founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. \u003c/p\u003e\n","\u003cp\u003eSoon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  \u003c/p\u003e\n","\u003cp\u003eIn 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  \u003c/p\u003e\n","\u003cp\u003eDuring this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including \u003ctitle\u003eJohn Henry\u003c/title\u003e and \u003ctitle\u003eOle Miz Dacey\u003c/title\u003e. Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  \u003c/p\u003e\n","\u003cp\u003eEcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with \u003ctitle\u003eDOPE!\u003c/title\u003e and SALT, used non-actors in its performances.  \u003c/p\u003e\n","\u003cp\u003eIn 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. \u003c/p\u003e\n","\u003cp\u003eMaryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026amp;M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. \u003c/p\u003e\n","\u003cp\u003eMaterials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. \u003c/p\u003e\n","\u003cp\u003eSeries 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. \u003c/p\u003e\n","\u003cp\u003eSeries 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. \u003c/p\u003e\n","\u003cp\u003eSeries 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.\u003c/p\u003e\n","\u003cp\u003eSeries 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.\u003c/p\u003e\n","\u003cp\u003eSeries 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. \u003c/p\u003e\n","\u003cp\u003eThis collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. \u003c/p\u003e\n","\u003cp\u003eSelect audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e","\u003cp\u003eThis series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts.\u003c/p\u003e","\u003cp\u003eThis series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing.\u003c/p\u003e","\u003cp\u003eThis series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. 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Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.\u003c/p\u003e","\u003cp\u003eThis series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.\u003c/p\u003e","\u003cp\u003eIncludes cassette tape labeled (\"Dr. Pfieffer\", October 28 1983)\u003c/p\u003e","\u003cp\u003eThis series contains published plays collected, but not written, by Maryat Lee.\u003c/p\u003e","\u003cp\u003eThis series contains nine paintings by Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope 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Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts.","This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing.","This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","Cassette Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","VHS Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","Reel-to-reel Tape","DVD","This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an Addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date.","Includes cassette tape labeled (\"Dr. Pfieffer\", October 28 1983)","This series contains published plays collected, but not written, by Maryat Lee.","This series contains nine paintings by Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29."],"separatedmaterial_html_tesm":["\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F21\u003c/p\u003e","\u003cp\u003eMaterial moved to B48/I1\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F2\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F3\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B51/F2\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B45/F5, B54/F4\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B45/F6\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B45/F7\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F5\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B52/F2\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B54/F6\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B52/F3\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 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A\u0026amp;M 3300 B35/F8\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F10\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F11-12\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F13\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F16\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F26\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B36/F3\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B37/F59-60\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B37/F61\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B37/F62\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B38\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B38/F49\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B38/F51\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B39/F11\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B39/F13\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B40/F4\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B7/F34\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B8\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F6\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B36/F30\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B38\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B11/F23\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F9\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B33/F26\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F15\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B40/F3\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B11/F21\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B35/F17\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M3300 B38\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B31, B29\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B30\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B26\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B65/F2\u003c/p\u003e","\u003cp\u003eMaterial moved to A\u0026amp;M 3300 B64/F3\u003c/p\u003e","\u003cp\u003eMaterial removed from A\u0026amp;M 3300 B63/F18\u003c/p\u003e","\u003cp\u003eMaterial removed from A\u0026amp;M 3300 B63\u003c/p\u003e","\u003cp\u003eRemoved from A\u0026amp;M 3300 B63\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated 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Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials","Separated Materials"],"separatedmaterial_tesim":["Material moved to A\u0026M 3300 B54/F21","Material moved to B48/I1","Material moved to A\u0026M 3300 B54/F2","Material moved to A\u0026M 3300 B54/F3","Material moved to A\u0026M 3300 B51/F2","Material moved to A\u0026M 3300 B45/F5, B54/F4","Material moved to A\u0026M 3300 B45/F6","Material moved to A\u0026M 3300 B45/F7","Material moved to A\u0026M 3300 B54/F5","Material moved to A\u0026M 3300 B52/F2","Material moved to A\u0026M 3300 B54/F6","Material moved to A\u0026M 3300 B52/F3","Material moved to A\u0026M 3300 B45/F8","Material moved to A\u0026M 3300 B45/F9","Material moved to A\u0026M 3300 B45/F12","Material moved to A\u0026M 3300 B45/F13","Material moved to A\u0026M 3300 B45/F15","Material moved to A\u0026M 3300 B51/F6","Material moved to A\u0026M 3300 B45/F16","Material moved to A\u0026M 3300 B45/F17, B51/F7","Material moved to A\u0026M 3300 B45/F18","Material moved to A\u0026M 3300 B45/F19","Material moved to A\u0026M 3300 B45/F20","Material moved to A\u0026M 3300 B54/F7, B45/F21-24, B51/F8","Material moved to A\u0026M 3300 B45/F25-27","Material moved to A\u0026M 3300 B45/F28-31, B46/F1-2, B50/F3-4, 19","Material moved to A\u0026M 3300 B54/F13","Material moved to A\u0026M 3300 B46/F3","Material moved to A\u0026M 3300 B54/F8","Material moved to A\u0026M 3300 B54/F9","Material moved to A\u0026M 3300 B54/F10","Material moved to A\u0026M 3300 B54/F11","Material moved to A\u0026M 3300 B54/F12","Material moved to A\u0026M 3300 B50/F5","Material moved to A\u0026M 3300 B50/F6","Material moved to A\u0026M 3300 B54/F14","Material moved to A\u0026M 3300 B50/F7","Material moved to A\u0026M 3300 B46/F4","Material moved to A\u0026M 3300 B20/F63","Material moved to A\u0026M 3300 B54/F16","Material moved to A\u0026M 3300 B54/F17","Material moved to A\u0026M 3300 B46/F6","Material moved to A\u0026M 3300 B46/F7","Material moved to A\u0026M 3300 B46/F8","Material moved to A\u0026M 3300 B46/F9","Material moved to A\u0026M 3300 B46/F10","Material moved to A\u0026M 3300 B46/F11","Material moved to A\u0026M 3300 B46/F13-19","Material moved to A\u0026M 3300 B46/F20","Material moved to A\u0026M 3300 B46/F21-24","Material moved to A\u0026M 3300 B46/F28","Material moved to A\u0026M 3300 B46/F29, B50/F8","Material moved to A\u0026M 3300 B54/F18","Material moved to A\u0026M 3300 B46/F30","Material moved to A\u0026M 3300 B50/F9-11, B46/F33","Material moved to A\u0026M 3300 B46/F34","Material moved to A\u0026M 3300 B46/F35","Material moved to A\u0026M 3300 B46/F36","Material moved to A\u0026M3300 B26/F12","Material moved to A\u0026M 3300 B46/F38","Material moved to A\u0026M 3300 B46/F39","Material moved to A\u0026M 3300 B46/F40","Material moved to A\u0026M3300 B55/F3","Material moved to A\u0026M 3300 B50/F12","Material moved to A\u0026M 3300 B46/F42","Material moved to A\u0026M 3300 B53/F4","Material moved to A\u0026M 3300 B46/F43","Material moved to A\u0026M 3300 F46/F44","Material moved to A\u0026M 3300 B46/F45","Material moved to A\u0026M 3300 B54/F20","Material moved to A\u0026M 3300 B46/F46","Material moved to A\u0026M 3300 B53/F1","Material moved to A\u0026M 3300 B46/F47","Material moved to A\u0026M 3300 B52/F4","Material moved to A\u0026M 3300 B46/F48","Material moved to A\u0026M 3300 B50/F13","Material moved to A\u0026M 3300 B54/F21","Material moved to A\u0026M 3300 B47/F10","Material moved to A\u0026M 3300 B54/F23","Material moved to A\u0026M 3300 B47/F11","Material moved to A\u0026M 3300 B54/F24","Material moved to A\u0026M 3300 B47/F12","Material moved to A\u0026M 3300 B50/F15","Material moved to A\u0026M 3300 B47/F13","Material moved to A\u0026M 3300 B54/F26","Material moved to A\u0026M 3300 B54/F27","Material moved to A\u0026M 3300 B47/F26","Material moved to A\u0026M 3300 B47/F27","Material moved to A\u0026M 3300 B50/F17","Material moved to A\u0026M 3300 B50/F18","Material moved to A\u0026M 3300 B50/F20","Removed from A\u0026M 3300 B11","Removed from A\u0026M 3300 B12","Removed from A\u0026M 3300 B15","Removed from A\u0026M 3300 B17/F1f","Removed from A\u0026M 3300 B17/F1g","Removed from A\u0026M 3300 B17/F1h","Removed from A\u0026M 3300 B17/F4h","Removed from A\u0026M 3300 B18/F15","Removed from A\u0026M 3300 B18","Removed from A\u0026M 3300 B18/F17","Removed from A\u0026M 3300 B18/F21","Removed from A\u0026M 3300 B18","Removed from A\u0026M 3300 B19/F6","Removed from A\u0026M 3300 B19/F10a","Removed from A\u0026M 3300 B19/F12","Removed from A\u0026M 3300 B19/F13a","Removed from A\u0026M 3300 B19/F16","Removed from A\u0026M 3300 B19/F22","Removed from A\u0026M 3300 B19/F26","Removed from A\u0026M 3300 B19/F29","Removed from A\u0026M 3300 B19/F31","Removed from A\u0026M 3300 B19/F34","Removed from A\u0026M 3300 B20/F12","Removed from A\u0026M 3300 B20/F14","Removed from A\u0026M 3300 B20/F16","Removed from A\u0026M 3300 B20/F20","Removed from A\u0026M 3300 B20/F21","Removed from A\u0026M 3300 B20/F22","Removed from A\u0026M 3300 B20/F24","Removed from A\u0026M 3300 B20/F25","Removed from A\u0026M 3300 B20/F26","Removed from A\u0026M 3300 B20/F37","Removed from A\u0026M 3300 B20/F59","Removed from A\u0026M 3300 B20/F63","Removed from A\u0026M 3300 B21/F1","Removed from A\u0026M 3300 B21/F2","Removed from A\u0026M 3300 B21/F3","Removed from A\u0026M 3300 B21/F5","Removed from A\u0026M 3300 B21/F11","Removed from A\u0026M 3300 B21/F36","Removed from A\u0026M 3300 B22/F12a","Removed from A\u0026M 3300 B23/F15","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B23/F31","Removed from A\u0026M 3300 B26/F1","Removed from A\u0026M 3300 B26/F4","Removed from A\u0026M 3300 B26/F6","Removed from A\u0026M 3300 B26/F12","Removed from A\u0026M 3300 B26/F35","Removed from A\u0026M 3300 B26/F48","Removed from A\u0026M 3300 B27/F3","Removed from A\u0026M 3300 B31/F7","Removed from A\u0026M 3300 B31/F24","Removed from A\u0026M 3300 B31/F44","Removed from A\u0026M 3300 B31/F45","Removed from A\u0026M 3300 B32/F9","Removed from A\u0026M 3300 B33/F25","Removed from A\u0026M 3300 B33/F33","Removed from A\u0026M 3300 B34/F3","Removed from A\u0026M 3300 B34/F23","Removed from A\u0026M 3300 B36/F8","Removed from A\u0026M 3300 B36/F31","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B39/F16a","Removed from A\u0026M 3300 B1/F1","Removed from A\u0026M 3300 B20","Removed from A\u0026M 3300 B20/F23","Removed from A\u0026M 3300 B20/F25","Removed from A\u0026M 3300 B20/F51","Removed from A\u0026M 3300 B20/F52","Removed from A\u0026M 3300 B20/F58","Removed from A\u0026M 3300 B22/F12b","Removed from A\u0026M 3300 B23/F25","Removed from A\u0026M 3300 B23/F28","Removed from A\u0026M 3300 B23/F29","Removed from A\u0026M 3300 B31/F19","Removed from A\u0026M 3300 B34/F30b","Removed from A\u0026M 3300 B39/F24","Removed from A\u0026M 3300 B39/F25","Removed from A\u0026M 3300 B20/F21","Removed from A\u0026M 3300 B39/F32","Removed from A\u0026M 3300 B40","Removed from A\u0026M 3300 [Add. 1998/07/22] B60","Removed from A\u0026M 3300 B11","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B13","Removed from A\u0026M 3300 B19/F9","Removed from A\u0026M 3300 B19/F12","Removed from A\u0026M 3300 B19/F34","Removed from A\u0026M 3300 B17/F2l","Removed from A\u0026M 3300 B17/F4f","Removed from A\u0026M 3300 B33/F35","Removed from A\u0026M 3300 B31/F28","Removed from A\u0026M 3300 B1","Removed from A\u0026M 3300 B11/F22","Removed from A\u0026M 3300 B17/F1f","Removed from A\u0026M 3300 B17/F2i","Removed from A\u0026M 3300 B17/F2q","Removed from A\u0026M 3300 B19/F25","Removed from A\u0026M 3300 B20/F44","Removed from A\u0026M 3300 B20/F45","Removed from A\u0026M 3300 B20/F46","Removed from A\u0026M 3300 B20/F48","Removed from A\u0026M 3300 B20/F49","Removed from A\u0026M 3300 B20/F53","Removed from A\u0026M 3300 B20/F54","Removed from A\u0026M 3300 B20","Removed from A\u0026M 3300 B20/F65","Removed from A\u0026M 3300 B20/F66","Removed from A\u0026M 3300 B22/F15","Removed from A\u0026M 3300 B23","Removed from A\u0026M 3300 B32/F34","Removed from A\u0026M 3300 B35/F1j","Removed from A\u0026M 3300 B35/F28","Removed from A\u0026M 3300 B36/F6","Removed from A\u0026M 3300 B37","Removed from A\u0026M 3300 B38/F31","Removed from A\u0026M 3300 B38/F43","Removed from A\u0026M 3300 B40/F13","Removed from A\u0026M 3300 B32","Removed from A\u0026M3300 B31/F5","Material moved to A\u0026M 3300 B65/F3","Material moved to A\u0026M 3300 B64/F7","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63/F17","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63/F3","Removed from A\u0026M 3300 B63/F15","Removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63","Material moved to oversized, B50/F1","Material moved to A\u0026M 3300 B45/F1","Material moved to A\u0026M 3300 B45/F11","Material moved to 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B30","Removed from A\u0026M 3300 B26","Material moved to A\u0026M 3300 B65/F2","Material moved to A\u0026M 3300 B64/F3","Material removed from A\u0026M 3300 B63/F18","Material removed from A\u0026M 3300 B63","Removed from A\u0026M 3300 B63"],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_41a071f25400b148208ada4216a47db7\"\u003eMaryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.\u003c/abstract\u003e"],"abstract_tesim":["Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_59b034a3f262570e93a472c5cb053744\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum"],"persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1537,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:42.135Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610"}},{"id":"wvmturhc_repositories_2_resources_6855","type":"collection","attributes":{"title":"Womynkind Foundation Newsletters and Other Records","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6855#abstract_or_scope","type":"document_value","attributes":{"value":"The Womynkind Foundation was formed in Charleston, West Virginia and sought to promote the artistic endeavors and issues relevant to women. The Womynkind Foundation started a newsletter, the \u003cspan\u003eWomynkind's Community Newsletter\u003c/span\u003e to spread events of interest for women and feature women's thoughts, poetry, and experiences. This collection contains a full run of the \u003cspan\u003eWomynkind's Community Newsletter\u003c/span\u003e published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The newsletter was named as the \u003cspan\u003eWomen's Community Newsletter\u003c/span\u003e under its first issue and was renamed as the \u003cspan\u003eWomynkind's Community Newsletter\u003c/span\u003e for all subsequent issues. It also contains budgets for monthly potluck dinners hosted by the Womynkind Foundation between 1990 and 1991.","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6855#breadcrumbs","type":"document_value","attributes":{"value":{"id":"wvmturhc_repositories_2_resources_6855","ead_ssi":"wvmturhc_repositories_2_resources_6855","_root_":"wvmturhc_repositories_2_resources_6855","_nest_parent_":"wvmturhc_repositories_2_resources_6855","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6855.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/206142","title_ssm":["Womynkind Foundation Newsletters and Other Records"],"title_tesim":["Womynkind Foundation Newsletters and Other Records"],"unitdate_ssm":["1990-1997"],"unitdate_inclusive_ssm":["1990-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4515","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6855"],"text":["A\u0026M 4515","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6855","Womynkind Foundation Newsletters and Other Records","West Virginia Feminist Activist and Women's History Collection","Lesbians--United States","LGBT activism","Women's rights","Women in community organization","No special access restriction applies.","The Womynkind Foundation was formed out of the desires of three Charleston, West Virginia women - Debby McHenry, Elaine Moore, and Barbara Steinke - to bring more women's music to the Charleston area in the spring of 1988. Their first concert featured Holly Near, an American singer-songwriter known for her use of music in activism, and was attended by over 700 people.  ","This same group of women, spearheaded by Barbara Steinke, continued to meet throughout the rest of 1988 and 1989 and hosted monthly women's potlucks. In response to the growing attendance of these potlucks and the desire to create a women's center in the Kanawha Valley, the Womynkind Foundation started a newsletter, the  Womynkind's Community Newsletter  to spread events of interest for women and feature women's thoughts, poetry, and experiences. Steinke was the first editor and publisher of the newsletter, with the first issue releasing in February 1990 as the  Women's Community Newsletter . The newsletter was named as the  Women's Community Newsletter  under its first issue and was renamed as the  Womynkind's Community Newsletter  for all subsequent issues.","Between 1990 and 1994, the newsletter remained a popular staple for feminist women in the Charleston area, with a peak of about 500 mailed recipients. Besides promoting the creation of the Women's Center of West Virginia (which was officially incorporated in July 1991), the newsletter featured women's events from across West Virginia, interviews with women in the community, women's commentary, poetry, and politics relevant to women. The  Womynkind's Community Newsletter  remained a separate entity from the Women's Center of West Virginia until November 1992, when the newsletter was brought under the latter's fold.  ","The newsletter was particularly focused on lesbian issues, and the group hosted a discussion and support group called Sisters in Bloom for lesbians.  ","Women featured in the newsletter include Faith Losaert, an activist from the civil rights movement; Charlotte Jean Pritt, a representative from West Virginia who served in the West Virginia House of Delegates from 1984 to 1988 and the West Virginia State Senate from 1988 to 1992; Kate Clinton, a comedian focusing on lesbian/gay humor; Suzanne Pharr, who co-founded Southerners on New Ground in 1993; Pam Nixon, an advocate for environmental safety and board member of People Concerned About Chemical Safety; and Robin Chandler Duke, best known for founding the United National Fund for Population Activities and serving as the United States Ambassador to Norway in 2000-2001.  ","In February 1994, Barbara Steinke stepped down as the newsletter's publisher and editor in order to attend school at the University of Alabama. That same year, the group hosted their last concert. Interest in the Womynkind Foundation waned following Steinke's departure, and previous efforts to find a physical location for the Women's Center of West Virginia stalled. Although the newsletter continued to be published under various editors and publishers until at least 1997, the prevalence of the Womynkind Foundation continued to falter. The Women's Center of West Virginia, Inc. was formally terminated in 2009.  ","This collection contains a full run of the  Women's Community Newsletter  and  Womynkind's Community Newsletter  published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The  Women's Community Newsletter  was renamed to the  Womynkind's Community Newsletter  following the first issue. It also contains budgets for monthly potluck dinners hosted by the Womynkind Foundation between 1990 and 1991. ","The newsletters feature short stories, poetry, art, local events, commentary, advertisements, and flyers created by local female and LGBTQ+ authors, as well as occassional features from nationally relevant writings and events. ","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","The Womynkind Foundation was formed in Charleston, West Virginia and sought to promote the artistic endeavors and issues relevant to women. The Womynkind Foundation started a newsletter, the  Womynkind's Community Newsletter  to spread events of interest for women and feature women's thoughts, poetry, and experiences. This collection contains a full run of the  Womynkind's Community Newsletter  published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The newsletter was named as the  Women's Community Newsletter  under its first issue and was renamed as the  Womynkind's Community Newsletter  for all subsequent issues. It also contains budgets for monthly potluck dinners hosted by the Womynkind Foundation between 1990 and 1991.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","English \n.    "],"unitid_tesim":["A\u0026M 4515","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6855"],"normalized_title_ssm":["Womynkind Foundation Newsletters and Other Records"],"collection_title_tesim":["Womynkind Foundation Newsletters and Other Records"],"collection_ssim":["Womynkind Foundation Newsletters and Other Records"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Transfer from West Virginia University Libraries, Periodicals, Thobois, Mike, 2021 September 15"],"access_subjects_ssim":["West Virginia Feminist Activist and Women's History Collection","Lesbians--United States","LGBT activism","Women's rights","Women in community organization"],"access_subjects_ssm":["West Virginia Feminist Activist and Women's History Collection","Lesbians--United States","LGBT activism","Women's rights","Women in community organization"],"has_online_content_ssim":["false"],"extent_ssm":["0.42 Linear Feet 1 document case, 5 in."],"extent_tesim":["0.42 Linear Feet 1 document case, 5 in."],"date_range_isim":[1990,1991,1992,1993,1994,1995,1996,1997],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies."],"bioghist_html_tesm":["\u003cp\u003eThe Womynkind Foundation was formed out of the desires of three Charleston, West Virginia women - Debby McHenry, Elaine Moore, and Barbara Steinke - to bring more women's music to the Charleston area in the spring of 1988. Their first concert featured Holly Near, an American singer-songwriter known for her use of music in activism, and was attended by over 700 people.  \u003c/p\u003e\n","\u003cp\u003eThis same group of women, spearheaded by Barbara Steinke, continued to meet throughout the rest of 1988 and 1989 and hosted monthly women's potlucks. In response to the growing attendance of these potlucks and the desire to create a women's center in the Kanawha Valley, the Womynkind Foundation started a newsletter, the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e to spread events of interest for women and feature women's thoughts, poetry, and experiences. Steinke was the first editor and publisher of the newsletter, with the first issue releasing in February 1990 as the \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e. The newsletter was named as the \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e under its first issue and was renamed as the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e for all subsequent issues.\u003c/p\u003e\n","\u003cp\u003eBetween 1990 and 1994, the newsletter remained a popular staple for feminist women in the Charleston area, with a peak of about 500 mailed recipients. Besides promoting the creation of the Women's Center of West Virginia (which was officially incorporated in July 1991), the newsletter featured women's events from across West Virginia, interviews with women in the community, women's commentary, poetry, and politics relevant to women. The \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e remained a separate entity from the Women's Center of West Virginia until November 1992, when the newsletter was brought under the latter's fold.  \u003c/p\u003e\n","\u003cp\u003eThe newsletter was particularly focused on lesbian issues, and the group hosted a discussion and support group called Sisters in Bloom for lesbians.  \u003c/p\u003e\n","\u003cp\u003eWomen featured in the newsletter include Faith Losaert, an activist from the civil rights movement; Charlotte Jean Pritt, a representative from West Virginia who served in the West Virginia House of Delegates from 1984 to 1988 and the West Virginia State Senate from 1988 to 1992; Kate Clinton, a comedian focusing on lesbian/gay humor; Suzanne Pharr, who co-founded Southerners on New Ground in 1993; Pam Nixon, an advocate for environmental safety and board member of People Concerned About Chemical Safety; and Robin Chandler Duke, best known for founding the United National Fund for Population Activities and serving as the United States Ambassador to Norway in 2000-2001.  \u003c/p\u003e\n","\u003cp\u003eIn February 1994, Barbara Steinke stepped down as the newsletter's publisher and editor in order to attend school at the University of Alabama. That same year, the group hosted their last concert. Interest in the Womynkind Foundation waned following Steinke's departure, and previous efforts to find a physical location for the Women's Center of West Virginia stalled. Although the newsletter continued to be published under various editors and publishers until at least 1997, the prevalence of the Womynkind Foundation continued to falter. The Women's Center of West Virginia, Inc. was formally terminated in 2009.  \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["The Womynkind Foundation was formed out of the desires of three Charleston, West Virginia women - Debby McHenry, Elaine Moore, and Barbara Steinke - to bring more women's music to the Charleston area in the spring of 1988. Their first concert featured Holly Near, an American singer-songwriter known for her use of music in activism, and was attended by over 700 people.  ","This same group of women, spearheaded by Barbara Steinke, continued to meet throughout the rest of 1988 and 1989 and hosted monthly women's potlucks. In response to the growing attendance of these potlucks and the desire to create a women's center in the Kanawha Valley, the Womynkind Foundation started a newsletter, the  Womynkind's Community Newsletter  to spread events of interest for women and feature women's thoughts, poetry, and experiences. Steinke was the first editor and publisher of the newsletter, with the first issue releasing in February 1990 as the  Women's Community Newsletter . The newsletter was named as the  Women's Community Newsletter  under its first issue and was renamed as the  Womynkind's Community Newsletter  for all subsequent issues.","Between 1990 and 1994, the newsletter remained a popular staple for feminist women in the Charleston area, with a peak of about 500 mailed recipients. Besides promoting the creation of the Women's Center of West Virginia (which was officially incorporated in July 1991), the newsletter featured women's events from across West Virginia, interviews with women in the community, women's commentary, poetry, and politics relevant to women. The  Womynkind's Community Newsletter  remained a separate entity from the Women's Center of West Virginia until November 1992, when the newsletter was brought under the latter's fold.  ","The newsletter was particularly focused on lesbian issues, and the group hosted a discussion and support group called Sisters in Bloom for lesbians.  ","Women featured in the newsletter include Faith Losaert, an activist from the civil rights movement; Charlotte Jean Pritt, a representative from West Virginia who served in the West Virginia House of Delegates from 1984 to 1988 and the West Virginia State Senate from 1988 to 1992; Kate Clinton, a comedian focusing on lesbian/gay humor; Suzanne Pharr, who co-founded Southerners on New Ground in 1993; Pam Nixon, an advocate for environmental safety and board member of People Concerned About Chemical Safety; and Robin Chandler Duke, best known for founding the United National Fund for Population Activities and serving as the United States Ambassador to Norway in 2000-2001.  ","In February 1994, Barbara Steinke stepped down as the newsletter's publisher and editor in order to attend school at the University of Alabama. That same year, the group hosted their last concert. Interest in the Womynkind Foundation waned following Steinke's departure, and previous efforts to find a physical location for the Women's Center of West Virginia stalled. Although the newsletter continued to be published under various editors and publishers until at least 1997, the prevalence of the Womynkind Foundation continued to falter. The Women's Center of West Virginia, Inc. was formally terminated in 2009.  "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Womynkind Foundation Newsletters and Other Records, A\u0026amp;M 4515, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Womynkind Foundation Newsletters and Other Records, A\u0026M 4515, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains a full run of the \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e and \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e was renamed to the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e following the first issue. It also contains budgets for monthly potluck dinners hosted by the Womynkind Foundation between 1990 and 1991. \u003c/p\u003e\n","\u003cp\u003eThe newsletters feature short stories, poetry, art, local events, commentary, advertisements, and flyers created by local female and LGBTQ+ authors, as well as occassional features from nationally relevant writings and events. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains a full run of the  Women's Community Newsletter  and  Womynkind's Community Newsletter  published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The  Women's Community Newsletter  was renamed to the  Womynkind's Community Newsletter  following the first issue. It also contains budgets for monthly potluck dinners hosted by the Womynkind Foundation between 1990 and 1991. ","The newsletters feature short stories, poetry, art, local events, commentary, advertisements, and flyers created by local female and LGBTQ+ authors, as well as occassional features from nationally relevant writings and events. "],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_6efde3f5d537a2c17416b84c3ef30ac9\"\u003eThe Womynkind Foundation was formed in Charleston, West Virginia and sought to promote the artistic endeavors and issues relevant to women. The Womynkind Foundation started a newsletter, the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e to spread events of interest for women and feature women's thoughts, poetry, and experiences. This collection contains a full run of the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The newsletter was named as the \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e under its first issue and was renamed as the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e for all subsequent issues. It also contains budgets for monthly potluck dinners hosted by the Womynkind Foundation between 1990 and 1991.\u003c/abstract\u003e"],"abstract_tesim":["The Womynkind Foundation was formed in Charleston, West Virginia and sought to promote the artistic endeavors and issues relevant to women. The Womynkind Foundation started a newsletter, the  Womynkind's Community Newsletter  to spread events of interest for women and feature women's thoughts, poetry, and experiences. This collection contains a full run of the  Womynkind's Community Newsletter  published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The newsletter was named as the  Women's Community Newsletter  under its first issue and was renamed as the  Womynkind's Community Newsletter  for all subsequent issues. It also contains budgets for monthly potluck dinners hosted by the Womynkind Foundation between 1990 and 1991."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_f1009914363a8992b34666358d64a1f3\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center"],"corpname_ssim":["West Virginia and Regional History Center"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":4,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:42.135Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_6855","ead_ssi":"wvmturhc_repositories_2_resources_6855","_root_":"wvmturhc_repositories_2_resources_6855","_nest_parent_":"wvmturhc_repositories_2_resources_6855","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6855.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/206142","title_ssm":["Womynkind Foundation Newsletters and Other Records"],"title_tesim":["Womynkind Foundation Newsletters and Other Records"],"unitdate_ssm":["1990-1997"],"unitdate_inclusive_ssm":["1990-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4515","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6855"],"text":["A\u0026M 4515","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/6855","Womynkind Foundation Newsletters and Other Records","West Virginia Feminist Activist and Women's History Collection","Lesbians--United States","LGBT activism","Women's rights","Women in community organization","No special access restriction applies.","The Womynkind Foundation was formed out of the desires of three Charleston, West Virginia women - Debby McHenry, Elaine Moore, and Barbara Steinke - to bring more women's music to the Charleston area in the spring of 1988. Their first concert featured Holly Near, an American singer-songwriter known for her use of music in activism, and was attended by over 700 people.  ","This same group of women, spearheaded by Barbara Steinke, continued to meet throughout the rest of 1988 and 1989 and hosted monthly women's potlucks. In response to the growing attendance of these potlucks and the desire to create a women's center in the Kanawha Valley, the Womynkind Foundation started a newsletter, the  Womynkind's Community Newsletter  to spread events of interest for women and feature women's thoughts, poetry, and experiences. Steinke was the first editor and publisher of the newsletter, with the first issue releasing in February 1990 as the  Women's Community Newsletter . The newsletter was named as the  Women's Community Newsletter  under its first issue and was renamed as the  Womynkind's Community Newsletter  for all subsequent issues.","Between 1990 and 1994, the newsletter remained a popular staple for feminist women in the Charleston area, with a peak of about 500 mailed recipients. Besides promoting the creation of the Women's Center of West Virginia (which was officially incorporated in July 1991), the newsletter featured women's events from across West Virginia, interviews with women in the community, women's commentary, poetry, and politics relevant to women. The  Womynkind's Community Newsletter  remained a separate entity from the Women's Center of West Virginia until November 1992, when the newsletter was brought under the latter's fold.  ","The newsletter was particularly focused on lesbian issues, and the group hosted a discussion and support group called Sisters in Bloom for lesbians.  ","Women featured in the newsletter include Faith Losaert, an activist from the civil rights movement; Charlotte Jean Pritt, a representative from West Virginia who served in the West Virginia House of Delegates from 1984 to 1988 and the West Virginia State Senate from 1988 to 1992; Kate Clinton, a comedian focusing on lesbian/gay humor; Suzanne Pharr, who co-founded Southerners on New Ground in 1993; Pam Nixon, an advocate for environmental safety and board member of People Concerned About Chemical Safety; and Robin Chandler Duke, best known for founding the United National Fund for Population Activities and serving as the United States Ambassador to Norway in 2000-2001.  ","In February 1994, Barbara Steinke stepped down as the newsletter's publisher and editor in order to attend school at the University of Alabama. That same year, the group hosted their last concert. 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","The newsletters feature short stories, poetry, art, local events, commentary, advertisements, and flyers created by local female and LGBTQ+ authors, as well as occassional features from nationally relevant writings and events. ","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","The Womynkind Foundation was formed in Charleston, West Virginia and sought to promote the artistic endeavors and issues relevant to women. The Womynkind Foundation started a newsletter, the  Womynkind's Community Newsletter  to spread events of interest for women and feature women's thoughts, poetry, and experiences. This collection contains a full run of the  Womynkind's Community Newsletter  published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. 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Their first concert featured Holly Near, an American singer-songwriter known for her use of music in activism, and was attended by over 700 people.  \u003c/p\u003e\n","\u003cp\u003eThis same group of women, spearheaded by Barbara Steinke, continued to meet throughout the rest of 1988 and 1989 and hosted monthly women's potlucks. In response to the growing attendance of these potlucks and the desire to create a women's center in the Kanawha Valley, the Womynkind Foundation started a newsletter, the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e to spread events of interest for women and feature women's thoughts, poetry, and experiences. Steinke was the first editor and publisher of the newsletter, with the first issue releasing in February 1990 as the \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e. The newsletter was named as the \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e under its first issue and was renamed as the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e for all subsequent issues.\u003c/p\u003e\n","\u003cp\u003eBetween 1990 and 1994, the newsletter remained a popular staple for feminist women in the Charleston area, with a peak of about 500 mailed recipients. Besides promoting the creation of the Women's Center of West Virginia (which was officially incorporated in July 1991), the newsletter featured women's events from across West Virginia, interviews with women in the community, women's commentary, poetry, and politics relevant to women. 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","This same group of women, spearheaded by Barbara Steinke, continued to meet throughout the rest of 1988 and 1989 and hosted monthly women's potlucks. In response to the growing attendance of these potlucks and the desire to create a women's center in the Kanawha Valley, the Womynkind Foundation started a newsletter, the  Womynkind's Community Newsletter  to spread events of interest for women and feature women's thoughts, poetry, and experiences. Steinke was the first editor and publisher of the newsletter, with the first issue releasing in February 1990 as the  Women's Community Newsletter . The newsletter was named as the  Women's Community Newsletter  under its first issue and was renamed as the  Womynkind's Community Newsletter  for all subsequent issues.","Between 1990 and 1994, the newsletter remained a popular staple for feminist women in the Charleston area, with a peak of about 500 mailed recipients. Besides promoting the creation of the Women's Center of West Virginia (which was officially incorporated in July 1991), the newsletter featured women's events from across West Virginia, interviews with women in the community, women's commentary, poetry, and politics relevant to women. The  Womynkind's Community Newsletter  remained a separate entity from the Women's Center of West Virginia until November 1992, when the newsletter was brought under the latter's fold.  ","The newsletter was particularly focused on lesbian issues, and the group hosted a discussion and support group called Sisters in Bloom for lesbians.  ","Women featured in the newsletter include Faith Losaert, an activist from the civil rights movement; Charlotte Jean Pritt, a representative from West Virginia who served in the West Virginia House of Delegates from 1984 to 1988 and the West Virginia State Senate from 1988 to 1992; Kate Clinton, a comedian focusing on lesbian/gay humor; Suzanne Pharr, who co-founded Southerners on New Ground in 1993; Pam Nixon, an advocate for environmental safety and board member of People Concerned About Chemical Safety; and Robin Chandler Duke, best known for founding the United National Fund for Population Activities and serving as the United States Ambassador to Norway in 2000-2001.  ","In February 1994, Barbara Steinke stepped down as the newsletter's publisher and editor in order to attend school at the University of Alabama. That same year, the group hosted their last concert. Interest in the Womynkind Foundation waned following Steinke's departure, and previous efforts to find a physical location for the Women's Center of West Virginia stalled. Although the newsletter continued to be published under various editors and publishers until at least 1997, the prevalence of the Womynkind Foundation continued to falter. The Women's Center of West Virginia, Inc. was formally terminated in 2009.  "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Womynkind Foundation Newsletters and Other Records, A\u0026amp;M 4515, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Womynkind Foundation Newsletters and Other Records, A\u0026M 4515, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains a full run of the \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e and \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The \u003ctitle\u003eWomen's Community Newsletter\u003c/title\u003e was renamed to the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e following the first issue. It also contains budgets for monthly potluck dinners hosted by the Womynkind Foundation between 1990 and 1991. \u003c/p\u003e\n","\u003cp\u003eThe newsletters feature short stories, poetry, art, local events, commentary, advertisements, and flyers created by local female and LGBTQ+ authors, as well as occassional features from nationally relevant writings and events. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection contains a full run of the  Women's Community Newsletter  and  Womynkind's Community Newsletter  published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. The  Women's Community Newsletter  was renamed to the  Womynkind's Community Newsletter  following the first issue. 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For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_6efde3f5d537a2c17416b84c3ef30ac9\"\u003eThe Womynkind Foundation was formed in Charleston, West Virginia and sought to promote the artistic endeavors and issues relevant to women. The Womynkind Foundation started a newsletter, the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e to spread events of interest for women and feature women's thoughts, poetry, and experiences. This collection contains a full run of the \u003ctitle\u003eWomynkind's Community Newsletter\u003c/title\u003e published by the Womynkind Foundation and the Women's Center of West Virginia, Inc. between 1990 and 1997. 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