{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026page=3531\u0026view=compact","prev":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026page=3530\u0026view=compact","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026page=3532\u0026view=compact","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1937\u0026page=3535\u0026view=compact"},"meta":{"pages":{"current_page":3531,"next_page":3532,"prev_page":3530,"total_pages":3535,"limit_value":10,"offset_value":35300,"total_count":35348,"first_page?":false,"last_page?":false}},"data":[{"id":"viblbv_repositories_2_resources_1798_c10_c17","type":"File","attributes":{"title":"Young Ladies with T-Squares -Early Women in Architecture at the University of California, 1890/1950","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1798_c10_c17#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_1798_c10_c17","ref_ssm":["viblbv_repositories_2_resources_1798_c10_c17"],"id":"viblbv_repositories_2_resources_1798_c10_c17","ead_ssi":"viblbv_repositories_2_resources_1798","_root_":"viblbv_repositories_2_resources_1798","_nest_parent_":"viblbv_repositories_2_resources_1798_c10","parent_ssi":"viblbv_repositories_2_resources_1798_c10","parent_ssim":["Inge Horton Architectural Collection, 1964/1999","Articles of Women Architects and Other Topics"],"parent_ids_ssim":["viblbv_repositories_2_resources_1798","viblbv_repositories_2_resources_1798_c10"],"title_filing_ssi":"Young Ladies with T-Squares -Early Women in Architecture at the University of California","title_ssm":["Young Ladies with T-Squares -Early Women in Architecture at the University of California"],"title_tesim":["Young Ladies with T-Squares -Early Women in Architecture at the University of California"],"normalized_title_ssm":["Young Ladies with T-Squares -Early Women in Architecture at the University of California, 1890/1950"],"text":["Young Ladies with T-Squares -Early Women in Architecture at the University of California, 1890/1950","Inge Horton Architectural Collection, 1964/1999","Articles of Women Architects and Other Topics","box 8","folder 17","English."],"parent_unittitles_ssm":["Inge Horton Architectural Collection, 1964/1999","Articles of Women Architects and Other Topics"],"parent_unittitles_tesim":["Inge Horton Architectural Collection, 1964/1999","Articles of Women Architects and Other Topics"],"normalized_date_ssm":["1890/1950"],"unitdate_inclusive_ssm":["1890-1950"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":303,"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Inge Horton Architectural Collection, 1964/1999"],"containers_ssim":["box 8","folder 17"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. 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Additional files were processed in March 2016.","The Inge Horton Architectural Collection consists of architectural studies written by Horton while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects (UIFA); a Historic Structure Report for Julia Morgan building; copies of her books; a curriculum vitae; and files on early women architects in the San Francisco Bay Area for her book \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010).","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","Inge Horton was born in Germany. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998; member of the Board of Advisors for the International Archive of Women in Architecture. 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Additional files were processed in March 2016."],"scopecontent_html_tesm":["\u003cp\u003eThe Inge Horton Architectural Collection consists of architectural studies written by Horton while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects (UIFA); a Historic Structure Report for Julia Morgan building; copies of her books; a curriculum vitae; and files on early women architects in the San Francisco Bay Area for her book \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010).\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Inge Horton Architectural Collection consists of architectural studies written by Horton while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects (UIFA); a Historic Structure Report for Julia Morgan building; copies of her books; a curriculum vitae; and files on early women architects in the San Francisco Bay Area for her book \"Early Women Architects of the San Francisco Bay Area: The Lives and Work of Fifty Professionals, 1890-1951\" (2010)."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_efeedd0489853594ec017840c3f0497f\" label=\"Abstract\"\u003eInge Horton was born in Germany. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998; member of the Board of Advisors for the International Archive of Women in Architecture. Her papers consist of architectural studies written while in Germany; presentations made at various women's architectural organization meetings, including the International Union of Women Architects; a curriculum vitae; and research files on early women architects in the San Francisco Bay Area.\u003c/abstract\u003e\n    "],"abstract_tesim":["Inge Horton was born in Germany. She was a planner with the Planning Department of the City and County of San Francisco, California, from 1983 to 1998; member of the Board of Advisors for the International Archive of Women in Architecture. 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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  Permission for publication of this material, in part or in full, must be secured with the Head of Special Collections.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["The materials from Washington and Lee University Special Collections are made available for use in research, teaching, and private study, pursuant to U.S. Copyright law.  The user assumes full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials.  Any materials used should be fully credited with the source.  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Chronological subject files, 1905/2004, bulk 1919/1969","Item dated 1937, 1937"],"parent_ids_ssim":["viblbv_repositories_2_resources_1409","viblbv_repositories_2_resources_1409_c01","viblbv_repositories_2_resources_1409_c01_c73"],"title_filing_ssi":"Young People (231)","title_ssm":["Young People (231)"],"title_tesim":["Young People (231)"],"normalized_title_ssm":["Young People (231), 1937"],"text":["Young People (231), 1937","Episcopal Diocese of Southwestern Virginia Records, 1866/2004, bulk 1919/1969","Series I. Chronological subject files, 1905/2004, bulk 1919/1969","Item dated 1937, 1937","box 99","folder 3"],"parent_unittitles_ssm":["Episcopal Diocese of Southwestern Virginia Records, 1866/2004, bulk 1919/1969","Series I. Chronological subject files, 1905/2004, bulk 1919/1969","Item dated 1937, 1937"],"parent_unittitles_tesim":["Episcopal Diocese of Southwestern Virginia Records, 1866/2004, bulk 1919/1969","Series I. Chronological subject files, 1905/2004, bulk 1919/1969","Item dated 1937, 1937"],"normalized_date_ssm":["1937"],"unitdate_other_ssim":["1937"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[3],"sort_isi":2498,"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Episcopal Diocese of Southwestern Virginia Records, 1866/2004, bulk 1919/1969"],"containers_ssim":["box 99","folder 3"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["The collection is open for research, except for Folder 1, which is restricted for 75 years from date of creation."],"parent_access_terms_tesm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"date_range_isim":[1937],"_nest_path_":"/components#0/components#72/components#81","timestamp":"2026-08-14T22:29:24.747Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_1409","ead_ssi":"viblbv_repositories_2_resources_1409","_root_":"viblbv_repositories_2_resources_1409","_nest_parent_":"viblbv_repositories_2_resources_1409","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_1409.xml","title_filing_ssi":"Episcopal Diocese of Southwestern Virginia Records","title_ssm":["Episcopal Diocese of Southwestern Virginia Records"],"title_tesim":["Episcopal Diocese of Southwestern Virginia Records"],"unitdate_ssm":["1866-2004","(bulk 1919-1969)"],"unitdate_inclusive_ssm":["1866-2004"],"unitdate_bulk_ssim":["(bulk 1919-1969)"],"normalized_date_ssm":["1866/2004, bulk 1919/1969"],"normalized_title_ssm":["Episcopal Diocese of Southwestern Virginia Records, 1866/2004, bulk 1919/1969"],"text":["Episcopal Diocese of Southwestern Virginia Records, 1866/2004, bulk 1919/1969","Ms.1985.004","Virginia, Southwest","Local/Regional History and Appalachian South","Religion","The collection is open for research, except for Folder 1, which is restricted for 75 years from date of creation.","Some of this collection has been digitized and is available online.","Duplicates and blank pages were weeded. Withholding tax records were shredded to protect personally identifiable information, including social security numbers, of employees. Salaries without names are available in budgets elsewhere in collection. IRS instructions were weeded, as information is available elsewhere and not specific to the Episcopal Diocese of Southwestern Virginia.","The collection is arranged into the following series:","Series I. Chronological subject files, 1905-2004 (bulk 1919-1969), is organized chronologically with single dates followed by date ranges (e.g., 1937, 1937-1938, 1938, 1938-1939).","Within each date and date range, the files are typically arranged by assigned number codes, which are in parentheses at the end of folder titles. Folders without a number code are listed first, in rough alphabetical order, followed by numbered folders in ascending numerical order.","The number codes represent the system used in the Bishop's office. That numbering system is organized first with Episcopal parishes and churches listed alphabetically, followed by subjects. Not every year has materials from each parish or subject.","Series II. Alphabetical subject files, 1923-1968, (bulk 1950-1968), is arranged in rough alphabetical order, divided based on the original dividers used by the Diocese, which remain in the collection. The series includes files of Rev. James C. Walsh and others. A large portion of materials relate to the Department of Christian Education.","Series III. Records of individuals or organizations, 1913-1969, is divided by creator. \n\nSubseries A. Robert B. Claytor files, 1956, 1969, is arranged chronologically. Claytor was chair of the 1956 Episcopal Census Committee, whose records dominate this subseries. \n\nSubseries B. Women's Auxiliary Records, 1913-1955, is predominately in original order.\n\nSubseries C. Stuart Hall, 1929-1953, is arranged in chronological order, which one subgroup in original order.\n\nSubseries D. St. Peter's-in-the-Mountains and St. John's-in-the-Mountains, 1914-1966, are in original order, with some materials grouped together under original titles and divisions. These materials are mostly financial records.\n\nSubseries E. Standing and Steering Committees, 1919-1956, are in original order, with some materials grouped together under original titles and divisions.","Series IV. Record books, 1866-1973, are primarily bound volumes of financial accounts and recordings of church activities. The series is divided by format into five subseries \n\nSubseries A. Daily Cash Books, 1930-1963, is arranged chronologically.\n\nSubseries B. Rector's Monthly Reports, 1940-1948, is arranged chronologically.\n\nSubseries C. Special Accounts, 1942-1961, is arranged chronologically.\n\nSubseries D. Ledgers, 1919-1955, is arranged chronologically.\n\nSubseries E. Secretary's and Treasurer's Books, 1866-1900, 1913-1921, is arranged chronologically.\n\nSubseries F. Convocation Minutes, 1907-1915, [1925]-1942, is arranged chronologically.\n\nSubseries G. Parish and Church Registers, 1873-1973, is arranged chronologically.","Series V. Photographic materials, [ca. 1910s-1920s], is divided by format and arranged chronologically.","The Episcopal Diocese of Southwestern Virginia was originally formed from the Diocese of Virginia, which was organized in 1795 and included the area that is now the states of Virginia and West Virginia. West Virginia achieved its statehood in 1863, and split from the Diocese in 1877. In 1892 the Diocese of Southern Virginia was formed, and in 1919 the western part of the diocese split off to form the Episcopal Diocese of Southwestern Virginia.","Robert Carter Jett, D.D. (1865-1950), of the Virginia Episcopal School, was consecrated Bishop of the Diocese in March 1920. He selected Roanoke as the headquarters, and St. John's for his parish church. Bishop Jett established a diocesan newsletter, encouraged interdenominational cooperation among the Protestant sects, and oversaw a program of church construction and the growth of mission schools.","In 1938 Bishop Jett retired and Henry Disbrow Phillips (1882-1955) assumed the duties of Bishop of the Diocese. Under Phillips' leadership, the Diocese continued to expand in parishioners and influence, most notably in the growth in the Diocese's function in education.","William Henry Marmion, D.D. (1907-2002), became the third Bishop of Southwestern Virginia in May 1954, and led the Diocese through an era of social upheaval in the 1960s. Bishop Marmion was strongly against racial segregation, and was confronted with the problem of challenging the long-held beliefs of many of his parishioners while integrating Black people into the church at the same time. The 1960s and 1970s also saw women pushing for a higher status in society, and the Diocese saw women increasingly become part of the church leadership as lay readers, deacons, and priests. Bishop Marmion also guided his parish into accepting the revisions of the Book of Common Prayer.","Bishop Marmion retired in 1979, and A. Heath Light (b. 1929) assumed leadership that same year until 1996. Bishop F. Neff Powell served from 1996 to 2013, when Mark Bourlakas assumed the bishopric.","For more information on the early history of the Diocese, see Hills of the Lord: the Background of the Episcopal Church in Southwestern Virginia, 1738-1938 by Katherine L. Brown (Roanoke : Diocese of Southwestern Virginia, 1979; call number BX5917.V8 B67 1979).","The guide to the Episcopal Diocese of Southwestern Virginia Records by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/).","The processing, arrangement, and description of the Episcopal Diocese of Southwestern Virginia Records was completed in November 1988. Small additions were integrated with additional description created in 1989-1992. Description was further updated in 2020-2021, including identified chronological subdivisions.","The processing, arrangement, and description for additions from 1990-2017 (Boxes 94-109) was completed in 2022-2023. Series and subseries were created at this time. Within these boxes, titles within brackets [] were created by archivists.","See the Episcopal Diocese of Southwestern Virginia Records II, Ms2011-018 and Bishop William H. Marmion Papers, Ms1986-013, also at Virginia Tech Special Collections and University Archives (SCUA).","The Archives of the Episcopal Church in Austin, Texas, also have related materials, including the holdings for the Episcopal Appalachian Ministries (formerly  Appalachian People's Service Organization), which contain material from the  Episcopal Diocese of Southwestern Virginia.","The records of the Episcopal Diocese of Southwestern Virginia consist of administrative records, including incoming (often from parishioners) and outgoing correspondence, with a scattering of newspaper clippings, photographs, building plans and surveys, pamphlets, financial records, and meeting minutes, from the central administrative office in Roanoke and the churches within the Diocese. Many of these materials belonged to the Bishop and his office, including Bishops R. C. Jett, H. D. Phillips, William H. Marmion, and A. Heath Light.","The following publications were separated to the Rare Book Collection:","Franklin County Virginia, compiled and edited by J. G. Claiborne, Lynchburg, Va., Supplement to the County News, Rocky Mount, Virginia, 1926.","Annual Report of the Diocese of Southwestern Virginia and Journal of the Proceeedings of the Annual Council, 1988 (69th Annual Council), 1991 (72nd Annual Council)-1998 (70th Annual Council). Call number BX5918.S922 A3.","The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form.","The Episcopal Diocese of Southwestern Virginia Records consist of the Diocese's administrative records, including incoming (often from parishioners) and outgoing correspondence, with a scattering of newspaper clippings, photographs, building plans and surveys, pamphlets, and meeting minutes, from the central administrative office in Roanoke and the churches within the Diocese.","Please note: This collection is in off-site storage and requires 2-3 days notice for retrieval. Please contact Special Collections and University Archives for more information.","Special Collections and University Archives, Virginia Tech","Episcopal Church. Diocese of Southern Virginia","Episcopal Church. Diocese of Southwestern Virginia","Episcopal Church. Diocese of Southwestern Virginia. Standing Committee","Jett, Robert C. (Robert Carter), 1865-1950","Light, A. Heath (Arthur Heath), 1929-","Marmion, William H. (William Henry), 1907-2002","Phillips, Henry D. (Henry Disbrow), 1882-1955","The materials in the collection are in English."],"collection_title_tesim":["Episcopal Diocese of Southwestern Virginia Records, 1866/2004, bulk 1919/1969"],"collection_ssim":["Episcopal Diocese of Southwestern Virginia Records, 1866/2004, bulk 1919/1969"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.1985.004"],"unitid_tesim":["Ms.1985.004"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"geogname_ssm":["Virginia, Southwest"],"geogname_ssim":["Virginia, Southwest"],"places_ssim":["Virginia, Southwest"],"creator_ssm":["Episcopal Church. Diocese of Southern Virginia","Episcopal Church. Diocese of Southwestern Virginia","Jett, Robert C. (Robert Carter), 1865-1950","Light, A. Heath (Arthur Heath), 1929-","Marmion, William H. (William Henry), 1907-2002","Phillips, Henry D. (Henry Disbrow), 1882-1955"],"creator_ssim":["Episcopal Church. Diocese of Southern Virginia","Episcopal Church. Diocese of Southwestern Virginia","Jett, Robert C. (Robert Carter), 1865-1950","Light, A. Heath (Arthur Heath), 1929-","Marmion, William H. (William Henry), 1907-2002","Phillips, Henry D. (Henry Disbrow), 1882-1955"],"creator_persname_ssim":["Jett, Robert C. (Robert Carter), 1865-1950","Light, A. Heath (Arthur Heath), 1929-","Marmion, William H. (William Henry), 1907-2002","Phillips, Henry D. (Henry Disbrow), 1882-1955"],"creator_corpname_ssim":["Special Collections and University Archives, Virginia Tech","Episcopal Church. Diocese of Southern Virginia","Episcopal Church. Diocese of Southwestern Virginia","Episcopal Church. Diocese of Southwestern Virginia. Standing Committee"],"creators_ssim":["Jett, Robert C. (Robert Carter), 1865-1950","Light, A. Heath (Arthur Heath), 1929-","Marmion, William H. (William Henry), 1907-2002","Phillips, Henry D. (Henry Disbrow), 1882-1955","Special Collections and University Archives, Virginia Tech","Episcopal Church. Diocese of Southern Virginia","Episcopal Church. Diocese of Southwestern Virginia","Episcopal Church. Diocese of Southwestern Virginia. Standing Committee"],"access_terms_ssm":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"acqinfo_ssim":["The records were permanently deposited to Special Collections and University Archives by the Episcopal Diocese of Southwestern Virginia in 1985. A small initial deposit was made in 1976, and additional materials were received from 1989 thru 1992. Some materials were accessioned in 2012 and 2017."],"access_subjects_ssim":["Local/Regional History and Appalachian South","Religion"],"access_subjects_ssm":["Local/Regional History and Appalachian South","Religion"],"has_online_content_ssim":["false"],"extent_ssm":["148.3 Cubic Feet 109 boxes, 1 folder"],"extent_tesim":["148.3 Cubic Feet 109 boxes, 1 folder"],"date_range_isim":[1866,1867,1868,1869,1870,1871,1872,1873,1874,1875,1876,1877,1878,1879,1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research, except for Folder 1, which is restricted for 75 years from date of creation.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research, except for Folder 1, which is restricted for 75 years from date of creation."],"altformavail_html_tesm":["\u003cp\u003eSome of this collection has been digitized and is \u003ca target=\"_blank\" href=\"https://imagebase.lib.vt.edu/browse.php?folio_ID=/lh/episcopal\"\u003eavailable online\u003c/a\u003e.\u003c/p\u003e  "],"altformavail_heading_ssm":["Existence and Location of Copies"],"altformavail_tesim":["Some of this collection has been digitized and is available online."],"appraisal_html_tesm":["\u003cp\u003eDuplicates and blank pages were weeded. Withholding tax records were shredded to protect personally identifiable information, including social security numbers, of employees. Salaries without names are available in budgets elsewhere in collection. IRS instructions were weeded, as information is available elsewhere and not specific to the Episcopal Diocese of Southwestern Virginia.\u003c/p\u003e  "],"appraisal_heading_ssm":["Appraisal"],"appraisal_tesim":["Duplicates and blank pages were weeded. Withholding tax records were shredded to protect personally identifiable information, including social security numbers, of employees. Salaries without names are available in budgets elsewhere in collection. IRS instructions were weeded, as information is available elsewhere and not specific to the Episcopal Diocese of Southwestern Virginia."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into the following series:\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"bold\"\u003eSeries I. Chronological subject files, 1905-2004 (bulk 1919-1969),\u003c/emph\u003e is organized chronologically with single dates followed by date ranges (e.g., 1937, 1937-1938, 1938, 1938-1939).\u003c/p\u003e","\u003cp\u003eWithin each date and date range, the files are typically arranged by assigned number codes, which are in parentheses at the end of folder titles. Folders without a number code are listed first, in rough alphabetical order, followed by numbered folders in ascending numerical order. \u003c/p\u003e","\u003cp\u003eThe number codes represent the system used in the Bishop's office. That numbering system is organized first with Episcopal parishes and churches listed alphabetically, followed by subjects. Not every year has materials from each parish or subject. \u003c/p\u003e","\u003cp\u003e\u003cemph render=\"bold\"\u003eSeries II. Alphabetical subject files, 1923-1968, (bulk 1950-1968),\u003c/emph\u003e is arranged in rough alphabetical order, divided based on the original dividers used by the Diocese, which remain in the collection. The series includes files of Rev. James C. Walsh and others. A large portion of materials relate to the Department of Christian Education.\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"bold\"\u003eSeries III. Records of individuals or organizations, 1913-1969,\u003c/emph\u003e is divided by creator. \n\u003clist\u003e\u003citem\u003e\nSubseries A. Robert B. Claytor files, 1956, 1969, is arranged chronologically. Claytor was chair of the 1956 Episcopal Census Committee, whose records dominate this subseries. \n\u003c/item\u003e\u003citem\u003e\nSubseries B. Women's Auxiliary Records, 1913-1955, is predominately in original order.\n\u003c/item\u003e\u003citem\u003e\nSubseries C. Stuart Hall, 1929-1953, is arranged in chronological order, which one subgroup in original order.\n\u003c/item\u003e\u003citem\u003e\nSubseries D. St. Peter's-in-the-Mountains and St. John's-in-the-Mountains, 1914-1966, are in original order, with some materials grouped together under original titles and divisions. These materials are mostly financial records.\n\u003c/item\u003e\u003citem\u003e\nSubseries E. Standing and Steering Committees, 1919-1956, are in original order, with some materials grouped together under original titles and divisions.\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"bold\"\u003eSeries IV. Record books, 1866-1973,\u003c/emph\u003e are primarily bound volumes of financial accounts and recordings of church activities. The series is divided by format into five subseries \n\u003clist\u003e\u003citem\u003e\nSubseries A. Daily Cash Books, 1930-1963, is arranged chronologically.\n\u003c/item\u003e\u003citem\u003e\nSubseries B. Rector's Monthly Reports, 1940-1948, is arranged chronologically.\n\u003c/item\u003e\u003citem\u003e\nSubseries C. Special Accounts, 1942-1961, is arranged chronologically.\n\u003c/item\u003e\u003citem\u003e\nSubseries D. Ledgers, 1919-1955, is arranged chronologically.\n\u003c/item\u003e\u003citem\u003e\nSubseries E. Secretary's and Treasurer's Books, 1866-1900, 1913-1921, is arranged chronologically.\n\u003c/item\u003e\u003citem\u003e\nSubseries F. Convocation Minutes, 1907-1915, [1925]-1942, is arranged chronologically.\n\u003c/item\u003e\u003citem\u003e\nSubseries G. Parish and Church Registers, 1873-1973, is arranged chronologically.\n\u003c/item\u003e\u003c/list\u003e\u003c/p\u003e","\u003cp\u003e\u003cemph render=\"bold\"\u003eSeries V. Photographic materials, [ca. 1910s-1920s],\u003c/emph\u003e is divided by format and arranged chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged into the following series:","Series I. Chronological subject files, 1905-2004 (bulk 1919-1969), is organized chronologically with single dates followed by date ranges (e.g., 1937, 1937-1938, 1938, 1938-1939).","Within each date and date range, the files are typically arranged by assigned number codes, which are in parentheses at the end of folder titles. Folders without a number code are listed first, in rough alphabetical order, followed by numbered folders in ascending numerical order.","The number codes represent the system used in the Bishop's office. That numbering system is organized first with Episcopal parishes and churches listed alphabetically, followed by subjects. Not every year has materials from each parish or subject.","Series II. Alphabetical subject files, 1923-1968, (bulk 1950-1968), is arranged in rough alphabetical order, divided based on the original dividers used by the Diocese, which remain in the collection. The series includes files of Rev. James C. Walsh and others. A large portion of materials relate to the Department of Christian Education.","Series III. Records of individuals or organizations, 1913-1969, is divided by creator. \n\nSubseries A. Robert B. Claytor files, 1956, 1969, is arranged chronologically. Claytor was chair of the 1956 Episcopal Census Committee, whose records dominate this subseries. \n\nSubseries B. Women's Auxiliary Records, 1913-1955, is predominately in original order.\n\nSubseries C. Stuart Hall, 1929-1953, is arranged in chronological order, which one subgroup in original order.\n\nSubseries D. St. Peter's-in-the-Mountains and St. John's-in-the-Mountains, 1914-1966, are in original order, with some materials grouped together under original titles and divisions. These materials are mostly financial records.\n\nSubseries E. Standing and Steering Committees, 1919-1956, are in original order, with some materials grouped together under original titles and divisions.","Series IV. Record books, 1866-1973, are primarily bound volumes of financial accounts and recordings of church activities. The series is divided by format into five subseries \n\nSubseries A. Daily Cash Books, 1930-1963, is arranged chronologically.\n\nSubseries B. Rector's Monthly Reports, 1940-1948, is arranged chronologically.\n\nSubseries C. Special Accounts, 1942-1961, is arranged chronologically.\n\nSubseries D. Ledgers, 1919-1955, is arranged chronologically.\n\nSubseries E. Secretary's and Treasurer's Books, 1866-1900, 1913-1921, is arranged chronologically.\n\nSubseries F. Convocation Minutes, 1907-1915, [1925]-1942, is arranged chronologically.\n\nSubseries G. Parish and Church Registers, 1873-1973, is arranged chronologically.","Series V. Photographic materials, [ca. 1910s-1920s], is divided by format and arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eThe Episcopal Diocese of Southwestern Virginia was originally formed from the Diocese of Virginia, which was organized in 1795 and included the area that is now the states of Virginia and West Virginia. West Virginia achieved its statehood in 1863, and split from the Diocese in 1877. In 1892 the Diocese of Southern Virginia was formed, and in 1919 the western part of the diocese split off to form the Episcopal Diocese of Southwestern Virginia. \u003c/p\u003e","\u003cp\u003eRobert Carter Jett, D.D. (1865-1950), of the Virginia Episcopal School, was consecrated Bishop of the Diocese in March 1920. He selected Roanoke as the headquarters, and St. John's for his parish church. Bishop Jett established a diocesan newsletter, encouraged interdenominational cooperation among the Protestant sects, and oversaw a program of church construction and the growth of mission schools. \u003c/p\u003e","\u003cp\u003eIn 1938 Bishop Jett retired and Henry Disbrow Phillips (1882-1955) assumed the duties of Bishop of the Diocese. Under Phillips' leadership, the Diocese continued to expand in parishioners and influence, most notably in the growth in the Diocese's function in education. \u003c/p\u003e","\u003cp\u003eWilliam Henry Marmion, D.D. (1907-2002), became the third Bishop of Southwestern Virginia in May 1954, and led the Diocese through an era of social upheaval in the 1960s. Bishop Marmion was strongly against racial segregation, and was confronted with the problem of challenging the long-held beliefs of many of his parishioners while integrating Black people into the church at the same time. The 1960s and 1970s also saw women pushing for a higher status in society, and the Diocese saw women increasingly become part of the church leadership as lay readers, deacons, and priests. Bishop Marmion also guided his parish into accepting the revisions of the Book of Common Prayer. \u003c/p\u003e","\u003cp\u003eBishop Marmion retired in 1979, and A. Heath Light (b. 1929) assumed leadership that same year until 1996. Bishop F. Neff Powell served from 1996 to 2013, when Mark Bourlakas assumed the bishopric. \u003c/p\u003e","\u003cp\u003eFor more information on the early history of the Diocese, see \u003cemph render=\"italic\"\u003eHills of the Lord: the Background of the Episcopal Church in Southwestern Virginia, 1738-1938\u003c/emph\u003e by Katherine L. Brown (Roanoke : Diocese of Southwestern Virginia, 1979; call number BX5917.V8 B67 1979).\u003c/p\u003e  "],"bioghist_heading_ssm":["Administrative History"],"bioghist_tesim":["The Episcopal Diocese of Southwestern Virginia was originally formed from the Diocese of Virginia, which was organized in 1795 and included the area that is now the states of Virginia and West Virginia. West Virginia achieved its statehood in 1863, and split from the Diocese in 1877. In 1892 the Diocese of Southern Virginia was formed, and in 1919 the western part of the diocese split off to form the Episcopal Diocese of Southwestern Virginia.","Robert Carter Jett, D.D. (1865-1950), of the Virginia Episcopal School, was consecrated Bishop of the Diocese in March 1920. He selected Roanoke as the headquarters, and St. John's for his parish church. Bishop Jett established a diocesan newsletter, encouraged interdenominational cooperation among the Protestant sects, and oversaw a program of church construction and the growth of mission schools.","In 1938 Bishop Jett retired and Henry Disbrow Phillips (1882-1955) assumed the duties of Bishop of the Diocese. Under Phillips' leadership, the Diocese continued to expand in parishioners and influence, most notably in the growth in the Diocese's function in education.","William Henry Marmion, D.D. (1907-2002), became the third Bishop of Southwestern Virginia in May 1954, and led the Diocese through an era of social upheaval in the 1960s. Bishop Marmion was strongly against racial segregation, and was confronted with the problem of challenging the long-held beliefs of many of his parishioners while integrating Black people into the church at the same time. The 1960s and 1970s also saw women pushing for a higher status in society, and the Diocese saw women increasingly become part of the church leadership as lay readers, deacons, and priests. Bishop Marmion also guided his parish into accepting the revisions of the Book of Common Prayer.","Bishop Marmion retired in 1979, and A. Heath Light (b. 1929) assumed leadership that same year until 1996. Bishop F. Neff Powell served from 1996 to 2013, when Mark Bourlakas assumed the bishopric.","For more information on the early history of the Diocese, see Hills of the Lord: the Background of the Episcopal Church in Southwestern Virginia, 1738-1938 by Katherine L. Brown (Roanoke : Diocese of Southwestern Virginia, 1979; call number BX5917.V8 B67 1979)."],"odd_html_tesm":["\u003cp\u003eThe guide to the Episcopal Diocese of Southwestern Virginia Records by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (\u003ca href=\"https://creativecommons.org/share-your-work/public-domain/cc0/\"\u003ehttps://creativecommons.org/share-your-work/public-domain/cc0/\u003c/a\u003e).\u003c/p\u003e  "],"odd_heading_ssm":["Rights Statement for Archival Description"],"odd_tesim":["The guide to the Episcopal Diocese of Southwestern Virginia Records by Special Collections and University Archives, Virginia Tech, is licensed under a CC0 (https://creativecommons.org/share-your-work/public-domain/cc0/)."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Episcopal Diocese of Southwestern Virginia Records, Ms1985-004, Special Collections and University Archives, Virginia Tech, Blacksburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: [identification of item], [box], [folder], Episcopal Diocese of Southwestern Virginia Records, Ms1985-004, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Episcopal Diocese of Southwestern Virginia Records was completed in November 1988. Small additions were integrated with additional description created in 1989-1992. Description was further updated in 2020-2021, including identified chronological subdivisions.\u003c/p\u003e","\u003cp\u003eThe processing, arrangement, and description for additions from 1990-2017 (Boxes 94-109) was completed in 2022-2023. Series and subseries were created at this time. Within these boxes, titles within brackets [] were created by archivists.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Episcopal Diocese of Southwestern Virginia Records was completed in November 1988. Small additions were integrated with additional description created in 1989-1992. Description was further updated in 2020-2021, including identified chronological subdivisions.","The processing, arrangement, and description for additions from 1990-2017 (Boxes 94-109) was completed in 2022-2023. Series and subseries were created at this time. Within these boxes, titles within brackets [] were created by archivists."],"relatedmaterial_html_tesm":["\u003cp\u003eSee the \u003ca target=\"_blank\" href=\"https://ead.lib.virginia.edu/vivaxtf/view?docId=oai/lib.vt.edu/repositories/2/resources/2658.oai_ead.xml\"\u003eEpiscopal Diocese of Southwestern Virginia Records II, Ms2011-018\u003c/a\u003e and \u003ca target=\"_blank\" href=\"https://ead.lib.virginia.edu/vivaxtf/view?docId=oai/lib.vt.edu/repositories/2/resources/1439.oai_ead.xml\"\u003eBishop William H. Marmion Papers, Ms1986-013\u003c/a\u003e, also at Virginia Tech Special Collections and University Archives (SCUA).\u003c/p\u003e","\u003cp\u003eThe \u003ca target=\"_blank\" href=\"https://www.episcopalarchives.org/\"\u003eArchives of the Episcopal Church\u003c/a\u003e in Austin, Texas, also have related materials, including the holdings for the \u003ca target=\"_blank\" href=\"https://www.episcopalarchives.org/episcopal-appalachian-ministries\"\u003eEpiscopal Appalachian Ministries\u003c/a\u003e (formerly  Appalachian People's Service Organization), which contain material from the  Episcopal Diocese of Southwestern Virginia.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Archival Materials"],"relatedmaterial_tesim":["See the Episcopal Diocese of Southwestern Virginia Records II, Ms2011-018 and Bishop William H. Marmion Papers, Ms1986-013, also at Virginia Tech Special Collections and University Archives (SCUA).","The Archives of the Episcopal Church in Austin, Texas, also have related materials, including the holdings for the Episcopal Appalachian Ministries (formerly  Appalachian People's Service Organization), which contain material from the  Episcopal Diocese of Southwestern Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThe records of the Episcopal Diocese of Southwestern Virginia consist of administrative records, including incoming (often from parishioners) and outgoing correspondence, with a scattering of newspaper clippings, photographs, building plans and surveys, pamphlets, financial records, and meeting minutes, from the central administrative office in Roanoke and the churches within the Diocese. Many of these materials belonged to the Bishop and his office, including Bishops R. C. Jett, H. D. Phillips, William H. Marmion, and A. Heath Light.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The records of the Episcopal Diocese of Southwestern Virginia consist of administrative records, including incoming (often from parishioners) and outgoing correspondence, with a scattering of newspaper clippings, photographs, building plans and surveys, pamphlets, financial records, and meeting minutes, from the central administrative office in Roanoke and the churches within the Diocese. Many of these materials belonged to the Bishop and his office, including Bishops R. C. Jett, H. D. Phillips, William H. Marmion, and A. Heath Light."],"separatedmaterial_html_tesm":["\u003cp\u003eThe following publications were separated to the Rare Book Collection: \u003c/p\u003e","\u003cp\u003e\u003ctitle render=\"italic\"\u003eFranklin County Virginia\u003c/title\u003e, compiled and edited by J. G. Claiborne, Lynchburg, Va., Supplement to the \u003ctitle render=\"italic\"\u003eCounty News\u003c/title\u003e, Rocky Mount, Virginia, 1926.\u003c/p\u003e","\u003cp\u003e\u003ctitle render=\"italic\"\u003eAnnual Report of the Diocese of Southwestern Virginia and Journal of the Proceeedings of the Annual Council\u003c/title\u003e, 1988 (69th Annual Council), 1991 (72nd Annual Council)-1998 (70th Annual Council). Call number BX5918.S922 A3.\u003c/p\u003e  "],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["The following publications were separated to the Rare Book Collection:","Franklin County Virginia, compiled and edited by J. G. Claiborne, Lynchburg, Va., Supplement to the County News, Rocky Mount, Virginia, 1926.","Annual Report of the Diocese of Southwestern Virginia and Journal of the Proceeedings of the Annual Council, 1988 (69th Annual Council), 1991 (72nd Annual Council)-1998 (70th Annual Council). Call number BX5918.S922 A3."],"userestrict_html_tesm":["\u003cp\u003eThe copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials. \u003c/p\u003e","\u003cp\u003eReproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: \u003ca target=\"_blank\" href=\"http://bit.ly/scuareproduction\"\u003ehttp://bit.ly/scuareproduction\u003c/a\u003e. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: \u003ca target=\"_blank\" href=\"http://bit.ly/scuapublication\"\u003ehttp://bit.ly/scuapublication\u003c/a\u003e. Please contact Special Collections and University Archives (\u003ca href=\"mailto:specref@vt.edu\"\u003especref@vt.edu\u003c/a\u003e or 540-231-6308) if you need assistance with forms or to submit a completed form.\u003c/p\u003e  "],"userestrict_heading_ssm":["Conditions Governing Reproduction and Use"],"userestrict_tesim":["The copyright status of this collection is unknown. Copyright restrictions may apply. Contact Special Collections and University Archives for assistance in determining the use of these materials.","Reproduction or digitization of materials for personal or research use can be requested using our reproduction/digitization form: http://bit.ly/scuareproduction. Reproduction or digitization of materials for publication or exhibit use can be requested using our publication/exhibition form: http://bit.ly/scuapublication. Please contact Special Collections and University Archives (specref@vt.edu or 540-231-6308) if you need assistance with forms or to submit a completed form."],"abstract_html_tesm":["\u003cabstract id=\"aspace_52cedd4dc03978bee672483539080186\" label=\"Abstract\"\u003eThe Episcopal Diocese of Southwestern Virginia Records consist of the Diocese's administrative records, including incoming (often from parishioners) and outgoing correspondence, with a scattering of newspaper clippings, photographs, building plans and surveys, pamphlets, and meeting minutes, from the central administrative office in Roanoke and the churches within the Diocese.\u003c/abstract\u003e\n    "],"abstract_tesim":["The Episcopal Diocese of Southwestern Virginia Records consist of the Diocese's administrative records, including incoming (often from parishioners) and outgoing correspondence, with a scattering of newspaper clippings, photographs, building plans and surveys, pamphlets, and meeting minutes, from the central administrative office in Roanoke and the churches within the Diocese."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e41de8798ebe8031e9bc85628b950749\"\u003e\u003cemph render=\"bold\"\u003ePlease note:\u003c/emph\u003e This collection is in off-site storage and requires 2-3 days notice for retrieval. Please contact Special Collections and University Archives for more information.\u003c/physloc\u003e\n    "],"physloc_tesim":["Please note: This collection is in off-site storage and requires 2-3 days notice for retrieval. Please contact Special Collections and University Archives for more information."],"corpname_ssim":["Special Collections and University Archives, Virginia Tech","Episcopal Church. Diocese of Southern Virginia","Episcopal Church. Diocese of Southwestern Virginia","Episcopal Church. Diocese of Southwestern Virginia. Standing Committee"],"names_coll_ssim":["Episcopal Church. Diocese of Southern Virginia","Episcopal Church. Diocese of Southwestern Virginia","Episcopal Church. Diocese of Southwestern Virginia. Standing Committee","Jett, Robert C. (Robert Carter), 1865-1950","Light, A. Heath (Arthur Heath), 1929-","Marmion, William H. (William Henry), 1907-2002","Phillips, Henry D. (Henry Disbrow), 1882-1955"],"persname_ssim":["Jett, Robert C. (Robert Carter), 1865-1950","Light, A. Heath (Arthur Heath), 1929-","Marmion, William H. (William Henry), 1907-2002","Phillips, Henry D. (Henry Disbrow), 1882-1955"],"names_ssim":["Special Collections and University Archives, Virginia Tech","Episcopal Church. Diocese of Southern Virginia","Episcopal Church. Diocese of Southwestern Virginia","Episcopal Church. Diocese of Southwestern Virginia. Standing Committee","Jett, Robert C. (Robert Carter), 1865-1950","Light, A. Heath (Arthur Heath), 1929-","Marmion, William H. (William Henry), 1907-2002","Phillips, Henry D. (Henry Disbrow), 1882-1955"],"language_ssim":["The materials in the collection are in English."],"total_component_count_is":5393,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:29:24.747Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_1409_c01_c73_c82"}},{"id":"viblbv_repositories_2_resources_2708_c02","type":"File","attributes":{"title":"Young People's Conference - Records and Correspondence, 1934/1937","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2708_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2708_c02","ref_ssm":["viblbv_repositories_2_resources_2708_c02"],"id":"viblbv_repositories_2_resources_2708_c02","ead_ssi":"viblbv_repositories_2_resources_2708","_root_":"viblbv_repositories_2_resources_2708","_nest_parent_":"viblbv_repositories_2_resources_2708","parent_ssi":"viblbv_repositories_2_resources_2708","parent_ssim":["Valley Street Baptist Church Records, 1931/1937"],"parent_ids_ssim":["viblbv_repositories_2_resources_2708"],"title_filing_ssi":"Young People's Conference - Records and Correspondence","title_ssm":["Young People's Conference - Records and Correspondence"],"title_tesim":["Young People's Conference - Records and Correspondence"],"normalized_title_ssm":["Young People's Conference - Records and Correspondence, 1934/1937"],"text":["Young People's Conference - Records and Correspondence, 1934/1937","Valley Street Baptist Church Records, 1931/1937","box 1","folder 2"],"parent_unittitles_ssm":["Valley Street Baptist Church Records, 1931/1937"],"parent_unittitles_tesim":["Valley Street Baptist Church Records, 1931/1937"],"normalized_date_ssm":["1934/1937"],"unitdate_inclusive_ssm":["1934-1937"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[1],"sort_isi":2,"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Valley Street Baptist Church Records, 1931/1937"],"containers_ssim":["box 1","folder 2"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["Collection is open for research."],"parent_access_terms_tesm":["Permission to publish material from Valley Street Baptist Church Records must be obtained from Special Collections, Virginia Tech."],"date_range_isim":[1934,1935,1936,1937],"_nest_path_":"/components#1","timestamp":"2026-08-14T22:30:59.961Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2708","ead_ssi":"viblbv_repositories_2_resources_2708","_root_":"viblbv_repositories_2_resources_2708","_nest_parent_":"viblbv_repositories_2_resources_2708","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2708.xml","title_filing_ssi":"Valley Street Baptist Church Records","title_ssm":["Valley Street Baptist Church Records"],"title_tesim":["Valley Street Baptist Church Records"],"unitdate_ssm":["1931-1937"],"unitdate_inclusive_ssm":["1931-1937"],"normalized_date_ssm":["1931/1937"],"normalized_title_ssm":["Valley Street Baptist Church Records, 1931/1937"],"text":["Valley Street Baptist Church Records, 1931/1937","Ms.2011.069","abingdon (Va.)","Local/Regional History and Appalachian South","1 box; 0.3 cu.ft.","Collection is open for research.","Collection is arranged chronologically.","The Young People's Conference of the Valley Street Baptist Church in Abingdon, VA was formed in July 1934 as an organization through which the youth could get more involved in the church organization.","The processing, arrangement, and description of the Valley Street Baptist Church Records was completed in August 2011.","Collection consists of correspondence, minutes, and financial information for the Valley Street Baptist Church Young People's Conference.  These records date from 1934 through 1937.  The correspondence includes a letter from Mary McLeod Bethune, Director of the Division of Negro Affairs for the National Youth Administration.  The collection also includes minutes and financial records for Sunday School meetings and the Finance committee.","Permission to publish material from Valley Street Baptist Church Records must be obtained from Special Collections, Virginia Tech.","Collection contains correspondence, minute books, and financial records for organizations within the Valley Street Baptist Church in Abingdon, Virginia.","Special Collections and University Archives, Virginia Tech","English\n."],"collection_title_tesim":["Valley Street Baptist Church Records, 1931/1937"],"collection_ssim":["Valley Street Baptist Church Records, 1931/1937"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2011.069"],"unitid_tesim":["Ms.2011.069"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"geogname_ssm":["abingdon (Va.)"],"geogname_ssim":["abingdon (Va.)"],"places_ssim":["abingdon (Va.)"],"creator_corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"creators_ssim":["Special Collections and University Archives, Virginia Tech"],"access_terms_ssm":["Permission to publish material from Valley Street Baptist Church Records must be obtained from Special Collections, Virginia Tech."],"access_subjects_ssim":["Local/Regional History and Appalachian South"],"access_subjects_ssm":["Local/Regional History and Appalachian South"],"has_online_content_ssim":["false"],"physdesc_tesim":["1 box; 0.3 cu.ft."],"extent_ssm":["0.3 Cubic Feet 1 box"],"extent_tesim":["0.3 Cubic Feet 1 box"],"date_range_isim":[1931,1932,1933,1934,1935,1936,1937],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open for research.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["Collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eCollection is arranged chronologically.\u003c/p\u003e  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["Collection is arranged chronologically."],"bioghist_html_tesm":["\u003cp\u003eThe Young People's Conference of the Valley Street Baptist Church in Abingdon, VA was formed in July 1934 as an organization through which the youth could get more involved in the church organization.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical note"],"bioghist_tesim":["The Young People's Conference of the Valley Street Baptist Church in Abingdon, VA was formed in July 1934 as an organization through which the youth could get more involved in the church organization."],"prefercite_html_tesm":["\u003cp\u003eResearchers wishing to cite this collection should include the following information: Valley Street Baptist Church Records, Ms2011-069, Special Collections, Virginia Polytechnic Institute and State University, Blacksburg, Va.\u003c/p\u003e  "],"prefercite_tesim":["Researchers wishing to cite this collection should include the following information: Valley Street Baptist Church Records, Ms2011-069, Special Collections, Virginia Polytechnic Institute and State University, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Valley Street Baptist Church Records was completed in August 2011.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Valley Street Baptist Church Records was completed in August 2011."],"scopecontent_html_tesm":["\u003cp\u003eCollection consists of correspondence, minutes, and financial information for the Valley Street Baptist Church Young People's Conference.  These records date from 1934 through 1937.  The correspondence includes a letter from Mary McLeod Bethune, Director of the Division of Negro Affairs for the National Youth Administration.  The collection also includes minutes and financial records for Sunday School meetings and the Finance committee.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["Collection consists of correspondence, minutes, and financial information for the Valley Street Baptist Church Young People's Conference.  These records date from 1934 through 1937.  The correspondence includes a letter from Mary McLeod Bethune, Director of the Division of Negro Affairs for the National Youth Administration.  The collection also includes minutes and financial records for Sunday School meetings and the Finance committee."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish material from Valley Street Baptist Church Records must be obtained from Special Collections, Virginia Tech.\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["Permission to publish material from Valley Street Baptist Church Records must be obtained from Special Collections, Virginia Tech."],"abstract_html_tesm":["\u003cabstract id=\"aspace_ace3239d50233f01641102b1d571e65b\" label=\"Abstract\"\u003eCollection contains correspondence, minute books, and financial records for organizations within the Valley Street Baptist Church in Abingdon, Virginia.\u003c/abstract\u003e\n    "],"abstract_tesim":["Collection contains correspondence, minute books, and financial records for organizations within the Valley Street Baptist Church in Abingdon, Virginia."],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"names_ssim":["Special Collections and University Archives, Virginia Tech"],"language_ssim":["English\n."],"total_component_count_is":5,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:30:59.961Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2708_c02"}},{"id":"vifgm_repositories_2_resources_326_c04_c986","type":"File","attributes":{"title":"Young Tramps 122, 1936/1939","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c986#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\".\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c986#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_326_c04_c986","ref_ssm":["vifgm_repositories_2_resources_326_c04_c986"],"id":"vifgm_repositories_2_resources_326_c04_c986","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326_c04","parent_ssi":"vifgm_repositories_2_resources_326_c04","parent_ssim":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"parent_ids_ssim":["vifgm_repositories_2_resources_326","vifgm_repositories_2_resources_326_c04"],"title_filing_ssi":"Young Tramps 122,","title_ssm":["Young Tramps 122"],"title_tesim":["Young Tramps 122"],"normalized_title_ssm":["Young Tramps 122, 1936/1939"],"text":["Young Tramps 122, 1936/1939","Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939","box 104","2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\"."],"parent_unittitles_ssm":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"normalized_date_ssm":["1936/1939"],"unitdate_other_ssim":["Circa 1936-1939"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":3716,"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"containers_ssim":["box 104"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1936,1937,1938,1939],"scopecontent_html_tesm":["\u003cp\u003e2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\".\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\"."],"_nest_path_":"/components#3/components#985","timestamp":"2026-08-14T22:34:37.194Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_326","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_326.xml","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"normalized_date_ssm":["1936/1939"],"normalized_title_ssm":["Federal Theatre Project photograph collection, 1936/1939"],"text":["Federal Theatre Project photograph collection, 1936/1939","C0205","/repositories/2/resources/326","Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs","There are no access restrictions.","The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.","Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"collection_title_tesim":["Federal Theatre Project photograph collection, 1936/1939"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205","/repositories/2/resources/326"],"unitid_tesim":["C0205","/repositories/2/resources/326"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"access_subjects_ssm":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["47 Linear Feet 112 boxes"],"extent_tesim":["47 Linear Feet 112 boxes"],"genreform_ssim":["Photographs"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"FTP digital collection\" show=\"new\"\u003e\u003c/extptr\u003e.\nThere are photographs from this collection and other FTP collections in the \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e\nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives. \u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_f5b0d867296cd5f5a7d9d818b302d6d9\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_306ca932fdff8272ef5beb3b37fe58f1\"\u003e\nR 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6\n\u003c/physloc\u003e\n    "],"physloc_tesim":["R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3844,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:37.194Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c986"}},{"id":"vifgm_repositories_2_resources_326_c04_c987","type":"File","attributes":{"title":"Young Tramps 137, 1936/1939","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c987#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\".\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c987#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_326_c04_c987","ref_ssm":["vifgm_repositories_2_resources_326_c04_c987"],"id":"vifgm_repositories_2_resources_326_c04_c987","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326_c04","parent_ssi":"vifgm_repositories_2_resources_326_c04","parent_ssim":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"parent_ids_ssim":["vifgm_repositories_2_resources_326","vifgm_repositories_2_resources_326_c04"],"title_filing_ssi":"Young Tramps 137,","title_ssm":["Young Tramps 137"],"title_tesim":["Young Tramps 137"],"normalized_title_ssm":["Young Tramps 137, 1936/1939"],"text":["Young Tramps 137, 1936/1939","Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939","box 104","2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\"."],"parent_unittitles_ssm":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"normalized_date_ssm":["1936/1939"],"unitdate_other_ssim":["Circa 1936-1939"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":3717,"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"containers_ssim":["box 104"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1936,1937,1938,1939],"scopecontent_html_tesm":["\u003cp\u003e2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\".\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\"."],"_nest_path_":"/components#3/components#986","timestamp":"2026-08-14T22:34:37.194Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_326","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_326.xml","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"normalized_date_ssm":["1936/1939"],"normalized_title_ssm":["Federal Theatre Project photograph collection, 1936/1939"],"text":["Federal Theatre Project photograph collection, 1936/1939","C0205","/repositories/2/resources/326","Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs","There are no access restrictions.","The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.","Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"collection_title_tesim":["Federal Theatre Project photograph collection, 1936/1939"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205","/repositories/2/resources/326"],"unitid_tesim":["C0205","/repositories/2/resources/326"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"access_subjects_ssm":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["47 Linear Feet 112 boxes"],"extent_tesim":["47 Linear Feet 112 boxes"],"genreform_ssim":["Photographs"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"FTP digital collection\" show=\"new\"\u003e\u003c/extptr\u003e.\nThere are photographs from this collection and other FTP collections in the \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e\nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives. \u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_f5b0d867296cd5f5a7d9d818b302d6d9\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_306ca932fdff8272ef5beb3b37fe58f1\"\u003e\nR 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6\n\u003c/physloc\u003e\n    "],"physloc_tesim":["R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3844,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:37.194Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c987"}},{"id":"vifgm_repositories_2_resources_326_c04_c984","type":"File","attributes":{"title":"Young Tramps 23, 1936/1939","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c984#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\".\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c984#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_326_c04_c984","ref_ssm":["vifgm_repositories_2_resources_326_c04_c984"],"id":"vifgm_repositories_2_resources_326_c04_c984","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326_c04","parent_ssi":"vifgm_repositories_2_resources_326_c04","parent_ssim":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"parent_ids_ssim":["vifgm_repositories_2_resources_326","vifgm_repositories_2_resources_326_c04"],"title_filing_ssi":"Young Tramps 23,","title_ssm":["Young Tramps 23"],"title_tesim":["Young Tramps 23"],"normalized_title_ssm":["Young Tramps 23, 1936/1939"],"text":["Young Tramps 23, 1936/1939","Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939","box 104","2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\"."],"parent_unittitles_ssm":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"normalized_date_ssm":["1936/1939"],"unitdate_other_ssim":["Circa 1936-1939"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":3714,"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"containers_ssim":["box 104"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1936,1937,1938,1939],"scopecontent_html_tesm":["\u003cp\u003e2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\".\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Dance Group\"."],"_nest_path_":"/components#3/components#983","timestamp":"2026-08-14T22:34:37.194Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_326","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_326.xml","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"normalized_date_ssm":["1936/1939"],"normalized_title_ssm":["Federal Theatre Project photograph collection, 1936/1939"],"text":["Federal Theatre Project photograph collection, 1936/1939","C0205","/repositories/2/resources/326","Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs","There are no access restrictions.","The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.","Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"collection_title_tesim":["Federal Theatre Project photograph collection, 1936/1939"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205","/repositories/2/resources/326"],"unitid_tesim":["C0205","/repositories/2/resources/326"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"access_subjects_ssm":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["47 Linear Feet 112 boxes"],"extent_tesim":["47 Linear Feet 112 boxes"],"genreform_ssim":["Photographs"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"FTP digital collection\" show=\"new\"\u003e\u003c/extptr\u003e.\nThere are photographs from this collection and other FTP collections in the \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e\nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives. \u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_f5b0d867296cd5f5a7d9d818b302d6d9\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_306ca932fdff8272ef5beb3b37fe58f1\"\u003e\nR 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6\n\u003c/physloc\u003e\n    "],"physloc_tesim":["R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3844,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:37.194Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c984"}},{"id":"vifgm_repositories_2_resources_326_c04_c985","type":"File","attributes":{"title":"Young Tramps 57, 1936/1939","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c985#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003e2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Model sets\".\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c985#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vifgm_repositories_2_resources_326_c04_c985","ref_ssm":["vifgm_repositories_2_resources_326_c04_c985"],"id":"vifgm_repositories_2_resources_326_c04_c985","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326_c04","parent_ssi":"vifgm_repositories_2_resources_326_c04","parent_ssim":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"parent_ids_ssim":["vifgm_repositories_2_resources_326","vifgm_repositories_2_resources_326_c04"],"title_filing_ssi":"Young Tramps 57,","title_ssm":["Young Tramps 57"],"title_tesim":["Young Tramps 57"],"normalized_title_ssm":["Young Tramps 57, 1936/1939"],"text":["Young Tramps 57, 1936/1939","Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939","box 104","2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Model sets\"."],"parent_unittitles_ssm":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"parent_unittitles_tesim":["Federal Theatre Project photograph collection, 1936/1939","Series 4: Microfiche, 1936/1939"],"normalized_date_ssm":["1936/1939"],"unitdate_other_ssim":["Circa 1936-1939"],"level_ssm":["File"],"level_ssim":["File"],"component_level_isim":[2],"sort_isi":3715,"repository_ssim":["George Mason University"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"containers_ssim":["box 104"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"parent_access_restrict_tesm":["There are no access restrictions."],"parent_access_terms_tesm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"date_range_isim":[1936,1937,1938,1939],"scopecontent_html_tesm":["\u003cp\u003e2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Model sets\".\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["2 negatives and 2 positives. One negative and one positive have writing on their envelopes, it reads \"Model sets\"."],"_nest_path_":"/components#3/components#984","timestamp":"2026-08-14T22:34:37.194Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vifgm_repositories_2_resources_326","ead_ssi":"vifgm_repositories_2_resources_326","_root_":"vifgm_repositories_2_resources_326","_nest_parent_":"vifgm_repositories_2_resources_326","ead_source_url_ssi":"data/oai/GMU/repositories_2_resources_326.xml","title_ssm":["Federal Theatre Project photograph collection"],"title_tesim":["Federal Theatre Project photograph collection"],"unitdate_ssm":["1936-1939"],"unitdate_inclusive_ssm":["1936-1939"],"normalized_date_ssm":["1936/1939"],"normalized_title_ssm":["Federal Theatre Project photograph collection, 1936/1939"],"text":["Federal Theatre Project photograph collection, 1936/1939","C0205","/repositories/2/resources/326","Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs","There are no access restrictions.","The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.","This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939","Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.","Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.","Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.","The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)","This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6","George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)","English"],"collection_title_tesim":["Federal Theatre Project photograph collection, 1936/1939"],"collection_ssim":["Federal Theatre Project photograph collection, 1936/1939"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["C0205","/repositories/2/resources/326"],"unitid_tesim":["C0205","/repositories/2/resources/326"],"repository_ssm":["George Mason University"],"repository_ssim":["George Mason University"],"creator_ssm":["Federal Theatre Project (U.S.)"],"creator_ssim":["Federal Theatre Project (U.S.)"],"creator_corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"creators_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"access_terms_ssm":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"acqinfo_ssim":["Donated by the Library of Congress, National Archives and Records Administration, and acquired through purchase."],"access_subjects_ssim":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"access_subjects_ssm":["Actors -- United States","Children's theater","Photography -- Negatives","Portraits","Theater -- New York (State) -- New York","Performing arts","Theater","Theater -- United States","Theater -- United States -- History -- 20th century","Photographs"],"has_online_content_ssim":["false"],"extent_ssm":["47 Linear Feet 112 boxes"],"extent_tesim":["47 Linear Feet 112 boxes"],"genreform_ssim":["Photographs"],"date_range_isim":[1936,1937,1938,1939],"accessrestrict_html_tesm":["\u003cp\u003eThere are no access restrictions.\u003c/p\u003e  "],"accessrestrict_heading_ssm":["Access Restrictions"],"accessrestrict_tesim":["There are no access restrictions."],"altformavail_html_tesm":["\u003cp\u003eThe costumes and set designs are also available as a series in the \u003cextptr href=\"https://mars.gmu.edu/handle/1920/3478\" title=\"FTP digital collection\" show=\"new\"\u003e\u003c/extptr\u003e.\nThere are photographs from this collection and other FTP collections in the \u003cextptr href=\"http://images.gmu.edu/luna/servlet/GMUDPSdps~23~23\" title=\"Federal Theatre Project collection\" show=\"new\"\u003e\u003c/extptr\u003e\nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s.\u003c/p\u003e  "],"altformavail_heading_ssm":["Alternative Form Available"],"altformavail_tesim":["The costumes and set designs are also available as a series in the .\nThere are photographs from this collection and other FTP collections in the \nThere are also 35 mm microfiche negatives made from original Federal Theatre Project photographs in the early 1980s."],"arrangement_html_tesm":["\u003cp\u003eThis collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.\u003c/p\u003e    ","\u003clist type=\"ordered\"\u003e\n      \u003chead\u003eSeries\u003c/head\u003e\n      \u003citem\u003eSeries 1: Production Photographs, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 2: Oversize Production Photographs,1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 3: Portraits, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 4: Microfiche, 1936-1939\u003c/item\u003e\n      \u003citem\u003eSeries 5: Printing Materials, 1936-1939\u003c/item\u003e\n    \u003c/list\u003e\n  "],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["This collection is organized into three series. Series one is arranged alphabetically by production title, state and city; by surname; or by subject. Series two is arranged alphabetically by production title, state and city, or by subject. Series three is arranged alphabetically by surname.","Series\n      Series 1: Production Photographs, 1936-1939\n      Series 2: Oversize Production Photographs,1936-1939\n      Series 3: Portraits, 1936-1939\n      Series 4: Microfiche, 1936-1939\n      Series 5: Printing Materials, 1936-1939"],"bioghist_html_tesm":["\u003cp\u003eOrganized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.\u003c/p\u003e","\u003cp\u003eLike many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.\u003c/p\u003e","\u003cp\u003eBut it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"\u003c/p\u003e","\u003cp\u003eFlanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.\u003c/p\u003e","\u003cp\u003eThe productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.\u003c/p\u003e","\u003cp\u003eThe Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck.\u003c/p\u003e  "],"bioghist_heading_ssm":["Historical Note"],"bioghist_tesim":["Organized in 1935, The Federal Theatre Project flourished as the first and only federally sponsored and subsidized theater program in the United States until its end in 1939. The FTP was a division of the Works Progress Administration (WPA), which provided employment for large numbers of artists, writers, and performers during the Great Depression (1929-1939). Directed by Hallie Flanagan (1880-1969), the FTP provided employment for theatrical professionals throughout the United States during the Great Depression.  Actors, playwrights, scene designers and builders, seamstresses, lighting experts, ushers, box-office men, and stagehands all found employment through the FTP.","Like many New Deal programs implemented by President Franklin D. Roosevelt, the Federal Theatre Project was intended not only to benefit its participants, but also to enrich the condition of the nation. Theater was a distinguished part of American popular culture, but the economic downturn of the Depression had bankrupted the entire theater industry. As the theater houses closed down, the nation was left without an outlet for theatrical creativity. According to Hallie Flanagan, this hurt the nation as much as it hurt the theater industry - indeed, the nation was their audience and the theater could provide entertaining distractions from the effects of Depression as well as offer commentary on present conditions.","But it was not enough to simply return to the pre-Depression concept of theater. In the first meeting with her staff Flanagan expressed her willingness to follow Roosevelt's experimental approach to public policy: \"In a changing world, a world of experiment, the stage too must experiment - with ideas, with the psychological relationship of men and women, with color and light.... The theatre must grow up.\"","Flanagan pursued her ideal of developing the relationship between the Federal Theatre and the federal government: \"Any theatre sponsored by the government of the United States should do no plays of a cheap, trivial, outworn or vulgar nature, but only such plays as the Government can stand proudly behind in a planned theatrical program, national in scope, regional in emphasis, and American in democratic attitude.\" To Flanagan, it was imperative that this new theater should be progressive and experimental, yet within a patriotic and informative framework.","The productions that best embodied Flanagan's views on theater were the Living Newspapers. These hard-hitting, poignant plays dealt with contemporary factual material, dramatizing issues such as housing, agriculture, labor, and destitution. Always ending on an upbeat note, Living Newspapers underscored the importance of hard work and morality in overcoming difficult times. Living Newspaper titles include: Triple A Plowed Under, Injunction Granted, One Third of a Nation, and Spirochete.","The Federal Theatre was noted for employing black Americans at a time when the Federal Government did not actively protect the rights of minorities. The \"Negro Theater\" (as it was called in the 1930s) was an established industry before the Depression, and it greatly contributed to the success of the Federal Theatre Project. Some of the most spectacular productions were put on by black theater professionals, for example: Macbeth, Haiti, Turpentine, Run Little Chillun, and The Trial of Dr. Beck."],"prefercite_html_tesm":["\u003cp\u003eFederal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries.\u003c/p\u003e  "],"prefercite_tesim":["Federal Theatre Project photograph collections, C0205, Special Collections Research Center, George Mason University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023.\u003c/p\u003e  "],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Monica Johnson and Joey Romeo in 2012. EAD markup completed by Monica Johnson and Joey Romeo in 2012. Finding aid updated by Robert Vay and Amanda Menjivar in February 2023."],"relatedmaterial_html_tesm":["\u003cp\u003eSpecial Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories.\u003c/p\u003e  "],"relatedmaterial_heading_ssm":["Related Material"],"relatedmaterial_tesim":["Special Collections Research Center holds the Federal Theatre Project collection, which includes numerous personal and organizational records as well as oral histories."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives. \u003c/p\u003e","\u003cp\u003eSeries one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.\u003c/p\u003e","\u003cp\u003eSeries three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.\u003c/p\u003e","\u003cp\u003eSeries four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.\u003c/p\u003e","\u003cp\u003eSeries five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.","Series one is titled Production Photographs. The series is comprised of photographs and negatives relating to productions, the majority of which are scene shots and portraits of employees, but the series also includes portraits of well-known figures of the day such as Eleanor Roosevelt and the Scottsboro Boys, and prints of audiences, caravan theater, children's theater, circus, community theater presentation, marionette construction, office personnel, posters, radio performances, rehearsals, sets, behind-the-scenes techniques, vaudeville, and workshops. Included are scene and stage production shots from living newspaper productions, such as \"Triple-A Plowed Under,\" \"Injunction Granted,\" \"1935,\" \"One-Third of a Nation,\" \"Power,\" and \"Spirochete,\" as well as from the Negro, Yiddish, and Radio units. The series is dated from 1936 to 1939 and is contained in boxes 1 to 82. It is arranged alphabetically by production title, state and city; by surname; or by subject. Some of the subjects included are audience, circus, dance, marionette, publicity, set, technical, theatres, and workshops.  Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series two is titled Oversize Production Photographs. The series is comprised of photographs relating to productions, including scene shots, stage and set shots, and portraits. The series is dated from 1936 to 1939 and is contained in boxes 83 to 88. The series is arranged alphabetically by production title, state and city, or by subject. This series includes oversize duplicates from photographs contained in series one and series three.","Series three is titled Portraits. The series is comprised of headshots and portraits of actors, actresses, and directors involved in Federal Theatre productions. The series includes portraits of unidentified actors and actresses from various plays, such as \"It Can't Happen Here,\" \"No More Peace,\" \"Power,\" \"Sing for Your Supper,\" \"Processional,\" etc. The series is dated from 1936 to 1939 and is contained in boxes 88 to 93. The series is arranged alphabetically by surname. Duplicates can be found both within folders and across folders (more than one folder with the same heading); oversize duplicates are included in series two.","Series four is titled Microfiche. The series contains microfiche featuring a variety of subjects that are related to the Federal Theater Project. Each file contains at least one negative and one positive of each subject with most of the files having duplicates. The series is dated from 1936 to 1939 and is contained in boxes 95 to 104. It is arranged alphabetically by production title, by surname, or by subject. Some of the subjects included are actors, actresses, authors, audience, circus, dance, directors, employees, marionette, publicity, scenes, set, technical, theatres, and workshops.","Series five is titled Printing Materials. This series is split into three subseries: Zinc Plates and Mats, Woodblocks, and Mimeographs.This series contains zinc plates, mats, mimeographs and woodblocks that were used in the production of publications for the Federal Theater Project. The series is dated from 1936 to 1939 and is contained in boxes 105 to 112. The series is arranged alphabetically starting with productions and then going into portraits."],"userestrict_html_tesm":["\u003cp\u003eThe copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)\u003c/p\u003e  "],"userestrict_heading_ssm":["Use Restrictions"],"userestrict_tesim":["The copyright and related rights status of this collection have not been evaluated (See http://rightsstatements.org/vocab/CNE/1.0/)"],"abstract_html_tesm":["\u003cabstract id=\"aspace_f5b0d867296cd5f5a7d9d818b302d6d9\" label=\"Abstract\"\u003eThis collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives.\u003c/abstract\u003e\n    "],"abstract_tesim":["This collection consists of graphic materials relating to Federal Theatre Project productions from 1936 to 1939 across the United States, with the majority from New York City and Roslyn, New York, San Diego and San Francisco, California, and Chicago, Illinois. The collection is mostly comprised of black and white photographs ranging in size from 4x5 to 11x14 and duplicate prints, as well as a few negatives."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_306ca932fdff8272ef5beb3b37fe58f1\"\u003e\nR 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6\n\u003c/physloc\u003e\n    "],"physloc_tesim":["R 45, C 5, S 1 - C 6, S 7\n\n\nR 46, C 1, S 2 - S 4\n\n\nOS R 1, C 1, S 6"],"corpname_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"names_coll_ssim":["Federal Theatre Project (U.S.)"],"names_ssim":["George Mason University. Libraries. Special Collections Research Center","Federal Theatre Project (U.S.)"],"language_ssim":["English"],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":3844,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-08-14T22:34:37.194Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vifgm_repositories_2_resources_326_c04_c985"}},{"id":"vifarl_repositories_2_resources_158","type":"collection","attributes":{"title":"Young Women's Christian Association Records and Scrapbook Collection, 1898/1973","creator":{"id":"https://search.arvasarchive.org/catalog/vifarl_repositories_2_resources_158#creator","type":"document_value","attributes":{"value":"Young Women's Christian Association","label":"Creator"}},"abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/vifarl_repositories_2_resources_158#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eThis collection contains scrapbooks, ledgers, slides, photographs, and documents created by Longwood's chapter of the YWCA between 1898 and 1973. The scrapbooks vary in condition and size, and contain newspaper clippings, photographs, and drawings. The ledgers contains the minutes of meetings held from 1909-1919 and 1955 to 1962, as well as a roll of the members for each term. The collection also includes photographs and slides of group activities including Freshman Commission, Religious Emphasis Week, food drives, and conferences.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vifarl_repositories_2_resources_158#breadcrumbs","type":"document_value","attributes":{"value":{"id":"vifarl_repositories_2_resources_158","ead_ssi":"vifarl_repositories_2_resources_158","_root_":"vifarl_repositories_2_resources_158","_nest_parent_":"vifarl_repositories_2_resources_158","ead_source_url_ssi":"data/oai/LONG/repositories_2_resources_158.xml","title_ssm":["Young Women's Christian Association Records and Scrapbook Collection"],"title_tesim":["Young Women's Christian Association Records and Scrapbook Collection"],"unitdate_ssm":["1898-1973"],"unitdate_bulk_ssim":["1898-1973"],"normalized_date_ssm":["1898/1973"],"normalized_title_ssm":["Young Women's Christian Association Records and Scrapbook Collection, 1898/1973"],"text":["Young Women's Christian Association Records and Scrapbook Collection, 1898/1973","LU.049","/repositories/2/resources/158","There are no restrictions to access or use for research purposes.","The Young Women's Christian Association (YWCA) was organized at then State Female Normal School in May 1896. The organization steadily grew and became one of the most influential clubs on campus. The organization brought leadership opportunities, religious education, and management experience to students. Religious education and women empowerment were the main features of the organization. The YWCA was listed as an inactive organization in 1975. The YWCA hosted bible studies, weekly prayer, devotional meetings and bi-weekly business meetings. The YWCA also hosted receptions in the fall for Little Sisters, and monthly birthday parties. The YWCA organized Religious Emphasis Week, and activities ranged from organized religious activities to concerts and speakers. Additionally, YWCA organized the Freshman Commission in 1925 to help make connections with the new freshmen class. Freshman Commission members were nominated by YWCA and elected by the Freshmen Class. The Commission became known for promoting and celebrating the Christmas Spirit, by dressing up as elves, caroling across campus and decorating the tree in the Rotunda. The Commission continued even after YWCA was listed as inactive. YWCA sought to encourage a strong relationship between members and Christ. Women were given leadership opportunities through held positions as officers. Officers were elected in March and would serve for one year. The activities of YWCA were left governed by student members which encouraged leadership and taught responsibility.","This collection originated with the chapter of the YWCA historically associated with Longwood University. It is unknown when the collection was transferred to the Greenwood Library Archives.","This collection contains scrapbooks, ledgers, slides, photographs, and documents created by Longwood's chapter of the YWCA between 1898 and 1973. The scrapbooks vary in condition and size, and contain newspaper clippings, photographs, and drawings. The ledgers contains the minutes of meetings held from 1909-1919 and 1955 to 1962, as well as a roll of the members for each term. 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The organization steadily grew and became one of the most influential clubs on campus. The organization brought leadership opportunities, religious education, and management experience to students. Religious education and women empowerment were the main features of the organization. The YWCA was listed as an inactive organization in 1975. The YWCA hosted bible studies, weekly prayer, devotional meetings and bi-weekly business meetings. The YWCA also hosted receptions in the fall for Little Sisters, and monthly birthday parties. The YWCA organized Religious Emphasis Week, and activities ranged from organized religious activities to concerts and speakers. Additionally, YWCA organized the Freshman Commission in 1925 to help make connections with the new freshmen class. Freshman Commission members were nominated by YWCA and elected by the Freshmen Class. The Commission became known for promoting and celebrating the Christmas Spirit, by dressing up as elves, caroling across campus and decorating the tree in the Rotunda. The Commission continued even after YWCA was listed as inactive. YWCA sought to encourage a strong relationship between members and Christ. Women were given leadership opportunities through held positions as officers. Officers were elected in March and would serve for one year. The activities of YWCA were left governed by student members which encouraged leadership and taught responsibility.\u003c/p\u003e  "],"bioghist_heading_ssm":["Biographical sketch"],"bioghist_tesim":["The Young Women's Christian Association (YWCA) was organized at then State Female Normal School in May 1896. The organization steadily grew and became one of the most influential clubs on campus. The organization brought leadership opportunities, religious education, and management experience to students. 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The scrapbooks vary in condition and size, and contain newspaper clippings, photographs, and drawings. The ledgers contains the minutes of meetings held from 1909-1919 and 1955 to 1962, as well as a roll of the members for each term. The collection also includes photographs and slides of group activities including Freshman Commission, Religious Emphasis Week, food drives, and conferences.\u003c/p\u003e  "],"scopecontent_heading_ssm":["Scope and content"],"scopecontent_tesim":["This collection contains scrapbooks, ledgers, slides, photographs, and documents created by Longwood's chapter of the YWCA between 1898 and 1973. The scrapbooks vary in condition and size, and contain newspaper clippings, photographs, and drawings. The ledgers contains the minutes of meetings held from 1909-1919 and 1955 to 1962, as well as a roll of the members for each term. 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The scrapbooks vary in condition and size, and contain newspaper clippings, photographs, and drawings. The ledgers contains the minutes of meetings held from 1909-1919 and 1955 to 1962, as well as a roll of the members for each term. 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