{"links":{"self":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Item\u0026page=4","prev":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Item\u0026page=3","next":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Item\u0026page=5","last":"https://search.arvasarchive.org/catalog.json?f%5Bdate_range%5D%5B%5D=1988\u0026f%5Blevel%5D%5B%5D=Item\u0026page=439"},"meta":{"pages":{"current_page":4,"next_page":5,"prev_page":3,"total_pages":439,"limit_value":10,"offset_value":30,"total_count":4384,"first_page?":false,"last_page?":false}},"data":[{"id":"wvmturhc_repositories_2_resources_1610_c03_c203","type":"Item","attributes":{"title":"29 - GSYP at EcoTheater, Addie","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c203#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eVHS Tape\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c203#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_1610_c03_c203","ref_ssm":["wvmturhc_repositories_2_resources_1610_c03_c203"],"id":"wvmturhc_repositories_2_resources_1610_c03_c203","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610_c03","parent_ssi":"wvmturhc_repositories_2_resources_1610_c03","parent_ssim":["wvmturhc_repositories_2_resources_1610","wvmturhc_repositories_2_resources_1610_c03"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_1610","wvmturhc_repositories_2_resources_1610_c03"],"parent_unittitles_ssm":["Maryat Lee, Playwright, Papers","Series 3. 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Audiovisual Material","29 - GSYP at EcoTheater, Addie","Box 43b","Item 29","VHS Tape"],"title_filing_ssi":"29 - GSYP at EcoTheater, Addie","title_ssm":["29 - GSYP at EcoTheater, Addie"],"title_tesim":["29 - GSYP at EcoTheater, Addie"],"unitdate_other_ssim":["1988"],"normalized_date_ssm":["1988"],"normalized_title_ssm":["29 - GSYP at EcoTheater, Addie"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Maryat Lee, Playwright, Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":321,"parent_access_restrict_tesm":["No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. "],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1988],"containers_ssim":["Box 43b","Item 29"],"scopecontent_html_tesm":["\u003cp\u003eVHS Tape\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["VHS Tape"],"_nest_path_":"/components#2/components#202","timestamp":"2026-04-30T23:14:58.776Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1610","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1610.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195886","title_ssm":["Maryat Lee, Playwright, Papers"],"title_tesim":["Maryat Lee, Playwright, Papers"],"unitdate_ssm":["1902-1997","1951-1989"],"unitdate_bulk_ssim":["1951-1989"],"unitdate_inclusive_ssm":["1902-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"text":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610","Maryat Lee, Playwright, Papers","Hinton (W. Va.)","New York (N.Y.)","West Virginia Feminist Activist Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization","No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. ","Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  ","This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert","English \n.    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(42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"extent_tesim":["63.54 Linear Feet 63 ft. 6.5 in. 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"],"bioghist_html_tesm":["\u003cp\u003eMaryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  \u003c/p\u003e\n","\u003cp\u003eMaryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. \u003c/p\u003e\n","\u003cp\u003eShe graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.\u003c/p\u003e\n","\u003cp\u003eIn the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  \u003c/p\u003e\n","\u003cp\u003eInspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play, \u003ctitle\u003eDOPE!\u003c/title\u003e which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. \u003c/p\u003e\n","\u003cp\u003eIn 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   \u003c/p\u003e\n","\u003cp\u003eIn 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.\u003c/p\u003e\n","\u003cp\u003eShe founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. \u003c/p\u003e\n","\u003cp\u003eSoon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  \u003c/p\u003e\n","\u003cp\u003eIn 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  \u003c/p\u003e\n","\u003cp\u003eDuring this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including \u003ctitle\u003eJohn Henry\u003c/title\u003e and \u003ctitle\u003eOle Miz Dacey\u003c/title\u003e. Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  \u003c/p\u003e\n","\u003cp\u003eEcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with \u003ctitle\u003eDOPE!\u003c/title\u003e and SALT, used non-actors in its performances.  \u003c/p\u003e\n","\u003cp\u003eIn 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. \u003c/p\u003e\n","\u003cp\u003eMaryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026amp;M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. \u003c/p\u003e\n","\u003cp\u003eMaterials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. \u003c/p\u003e\n","\u003cp\u003eSeries 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. \u003c/p\u003e\n","\u003cp\u003eSeries 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. \u003c/p\u003e\n","\u003cp\u003eSeries 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.\u003c/p\u003e\n","\u003cp\u003eSeries 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.\u003c/p\u003e\n","\u003cp\u003eSeries 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. \u003c/p\u003e\n","\u003cp\u003eThis collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. \u003c/p\u003e\n","\u003cp\u003eSelect audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_41a071f25400b148208ada4216a47db7\"\u003eMaryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.\u003c/abstract\u003e"],"abstract_tesim":["Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_59b034a3f262570e93a472c5cb053744\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum"],"persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1537,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T23:14:58.776Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c203"}},{"id":"wvmturhc_repositories_2_resources_1_c03_c05_c04_c110","type":"Item","attributes":{"title":"#2 [earlier label: \"Senate hearings 1-10-92]","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1_c03_c05_c04_c110#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_1_c03_c05_c04_c110","ref_ssm":["wvmturhc_repositories_2_resources_1_c03_c05_c04_c110"],"id":"wvmturhc_repositories_2_resources_1_c03_c05_c04_c110","ead_ssi":"wvmturhc_repositories_2_resources_1","_root_":"wvmturhc_repositories_2_resources_1","_nest_parent_":"wvmturhc_repositories_2_resources_1_c03_c05_c04","parent_ssi":"wvmturhc_repositories_2_resources_1_c03_c05_c04","parent_ssim":["wvmturhc_repositories_2_resources_1","wvmturhc_repositories_2_resources_1_c03","wvmturhc_repositories_2_resources_1_c03_c05","wvmturhc_repositories_2_resources_1_c03_c05_c04"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_1","wvmturhc_repositories_2_resources_1_c03","wvmturhc_repositories_2_resources_1_c03_c05","wvmturhc_repositories_2_resources_1_c03_c05_c04"],"parent_unittitles_ssm":["Senator John D. (Jay) Rockefeller IV papers","III. Press","E. Audiovisual materials","Betacam"],"parent_unittitles_tesim":["Senator John D. (Jay) Rockefeller IV papers","III. Press","E. Audiovisual materials","Betacam"],"text":["Senator John D. (Jay) Rockefeller IV papers","III. Press","E. Audiovisual materials","Betacam","#2 [earlier label: \"Senate hearings 1-10-92]","Betacam (small cassette)","Box III.E. - 22"],"title_filing_ssi":"#2 [earlier label: \"Senate hearings 1-10-92]","title_ssm":["#2 [earlier label: \"Senate hearings 1-10-92]"],"title_tesim":["#2 [earlier label: \"Senate hearings 1-10-92]"],"unitdate_inclusive_ssm":["undated"],"normalized_date_ssm":["1985/2014"],"normalized_title_ssm":["#2 [earlier label: \"Senate hearings 1-10-92]"],"component_level_isim":[4],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Senator John D. (Jay) Rockefeller IV papers"],"physdesc_tesim":["Betacam (small cassette)"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":3390,"parent_access_restrict_tesm":["Access to audiovisual items may be arranged in the West Virginia \u0026 Regional History Center reading room depending on the format. Advance notice is required."],"parent_access_terms_tesm":["Materials may contain sensitive or private information. Researchers may use data collected from these materials in the statistical aggregate or as an example to illustrate a theme. No identifying information should point to specific individuals or families mentioned in the files. ","Materials produced by public servants while carrying out official duties are not copyrighted. Materials created outside of official duties, including diaries, personal correspondence, and campaign materials, are protected by copyright. Use of materials from this collection beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. Permission to publish or reproduce is required from the copyright holder. For more information, please contact the West Virginia \u0026 Regional History Center. "],"date_range_isim":[1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014],"containers_ssim":["Box III.E. - 22"],"_nest_path_":"/components#2/components#4/components#3/components#109","timestamp":"2026-04-30T23:07:49.324Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1","ead_ssi":"wvmturhc_repositories_2_resources_1","_root_":"wvmturhc_repositories_2_resources_1","_nest_parent_":"wvmturhc_repositories_2_resources_1","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/177420","title_ssm":["Senator John D. (Jay) Rockefeller IV papers"],"title_tesim":["Senator John D. (Jay) Rockefeller IV papers"],"unitdate_ssm":["1960-2015","1985-2014"],"unitdate_bulk_ssim":["1985-2014"],"unitdate_inclusive_ssm":["1960-2015"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4050","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1"],"text":["A\u0026M 4050","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1","Senator John D. (Jay) Rockefeller IV papers","United States -- Politics and government -- 20th century","West Virginia -- Politics and government","National security","West Virginia -- Politics and government","United States -- Politics and government","Democratic Party","United States. Congress -- History -- 20th century","United States. Congress -- Archives","Steel industry and trade","Wireless communication systems -- Law and legislation","Child welfare","Coal miners--West Virginia","Veterans--United States","Health care reform -- United States","Coal mines and mining -- Law and legislation -- United States","Politicians -- United States","The majority of the Senator John D. (Jay) Rockefeller IV papers are closed until 2035. Permission to access materials prior to 2035 may be given at the donor's discretion. ","Materials previously made publicly available, such as speeches, press releases, photographs, press interviews, clippings, and publications are open for research. ","The collection is stored off-site. Researchers should contact the West Virginia \u0026 Regional History Center prior to visiting to ensure materials are available. ","Some digital materials are available online at https://rockefeller.lib.wvu.edu/.","The papers are arranged into six subgroups, and each subgroup is further arranged into series. Digital materials received on external hard drives, USB flash drives, floppy disks, CDs, and DVDs are arranged in the appropriate series and reflect the arrangement of the paper records.","Senator John Davison (Jay) Rockefeller IV served the people and state of West Virginia for more than 50 years. Rockefeller came to West Virginia in 1964 as a VISTA volunteer in the small community of Emmons, an experience that shaped his extensive career in public service. He served in the West Virginia House of Delegates (1966-1968); as Secretary of State of West Virginia (1968-1972); President of West Virginia Wesleyan College (1973-1976); and Governor of West Virginia (1977-1985). In 1984 he was elected to the United States Senate and was reelected four times, in 1990, 1996, 2002, and 2008, before retiring in 2015.","Jay Rockefeller was born in New York, New York, on June 18, 1937, to philanthropists John Davison Rockefeller III and Blanchette Ferry Hooker. He is the great-grandson of John D. Rockefeller, founder of the Standard Oil Company, and nephew of businessman and politician Nelson Aldrich Rockefeller. Jay Rockefeller graduated from Phillips Exeter Academy, New Hampshire, in 1955, and graduated from Harvard University in 1961 with a B.A. in Far Eastern Languages and History. In his junior year at Harvard, he attended the International Christian University in Tokyo, Japan, and he spent three years studying Japanese.","In 1964, Rockefeller joined the newly formed national service program Volunteers In Service to America (VISTA) aimed at fighting poverty. He served in Emmons, WV, a small mining community located in Boone and Kanawha Counties, for two years. His efforts in Emmons included starting a Little League baseball team, extending school bus service to the rural area, and providing transportation to dental clinics. He built a community center and obtained access to mobile health screenings for women.","Rockefeller entered politics in 1966 as a Kanawha County candidate for the West Virginia House of Delegates. He changed his party affiliation to Democrat, breaking with the family's traditional affiliation with the Republican Party.","In 1967, Rockefeller married Sharon Lee Percy, daughter of U.S. Senator Charles Percy of Illinois. Their Chicago wedding was featured on the cover of Life magazine. They had four children: John Davison (Jamie) V, Valerie, Charles, and Justin Aldrich.","He ran for West Virginia Secretary of State in 1968, winning the election against Republican John Callebs. As Secretary of State, Rockefeller pushed for election law reform and broke up several county Democratic political machines. He was successful in making elections more transparent and in reducing instances of election fraud by removing the names of deceased people from the state's official list of registered voters.","Rockefeller announced his candidacy for governor of West Virginia in 1972 against incumbent Republican Governor Arch Moore. Moore won reelection by 72,000 votes.","Within months of his defeat, Rockefeller was named president of West Virginia Wesleyan College, located in Buckhannon, WV. Some of his biggest accomplishments include increasing enrollment, creating an active recruitment campaign, and streamlining operations. He submitted a letter of resignation to the College in 1975 to prepare for the next gubernatorial election, for which he campaigned throughout 1976.","Rockefeller's second run for governor was successful: he beat Republican candidate Cecil Underwood by more than 242,000 votes, the largest majority in state history. Natural disaster, strikes, and a worsening economy posed serious challenges during his years as governor. In the spring of 1977, major spring floods in the southern West Virginia counties of McDowell, Wayne, Logan, and Ming wiped entire towns away, and made safe housing above flood plains a focus of Rockefeller's administration.","The same year saw the beginning of the 111-day national Bituminous Coal Strike of 1977-1978 led by the United Mine Workers of America (UMWA) and the AFL-CIO. Rockefeller refused to call upon the National Guard to suppress the miners' strike. At its conclusion, President Jimmy Carter appointed Rockefeller to lead the first major federal study of coal mining in America in three decades. Rockefeller served as chair of the President's Commission on Coal and pushed for a national energy strategy that included Appalachian coal. He also created the West Virginia Board of Coal Mine Health and Safety, reorganized state agencies, and set up senior centers statewide.","In 1980, Rockefeller ran for a second term as governor, again facing Republican Arch Moore, and won by 64,000 votes. Rockefeller faced another challenging four years and worked to maintain the state's economy as the federal government cut funding in the midst of an economic downturn, industries struggled to remain open, and unemployment rates across the state rose.","At the end of his governorship, Rockefeller ran for the United States Senate as a Democrat against businessman John Raese of Morgantown, WV. Rockefeller won the 1984 election by four percentage points and went on to fill the seat left vacant after long-time Senator Jennings Randolph retired.","Rockefeller began his service in the U.S. Senate on January 15, 1985, and served until 2015. He became a leading champion for health care reform, an advocate for improving the lives of children and working families, and a supporter of the nation's soldiers, veterans, and senior citizens. He served as chair of the Committee on Veterans Affairs (1993-1994, 2001-2003); the Select Committee on Intelligence (2007-2009); the Committee on Commerce, Science, and Transportation (2009-2015); and the Committee on Finance Subcommittee on Medicare and Long-term Care (1989-1994, 2001-2003, 2007-2014). He also served as vice-chair of the Select Committee on Intelligence (2003-2006).","He held additional leadership positions as chairman on the Pepper Commission (1987-1990), the U.S. Senate Steel Caucus (1989-1994, 2013-2015, co-chair 1995-2013), the National Commission on Children (1989-1993), and the Democratic Technology and Communications Committee (1995-2003). He was also a member of several Senate groups, including the Steering Committee on Democratic Policy, the Alternative Fuels Council, and the Coal Caucus.","Influenced by his two years in Emmons, WV, Rockefeller championed health care issues, and health care reform throughout his Senate career. He supported measures to improve and modernize Medicare, expand access to health care, and increase health coverage for children, authoring the Children's Health Insurance Program (CHIP). He introduced and co-sponsored more than 2,000 pieces of major health-related legislation and provided leadership and policy on health care reform for both the Clinton and Obama administrations. During the latter, he contributed to the successful passage of the Affordable Care Act and was a proponent of providing people with a not-for-profit insurance company backed by the government, commonly known as a public option.","He was appointed to the Senate Finance Committee and its Subcommittee on Medicare and Long-term Care (later known as the Subcommittee on Health Care) in 1987 and served as chairman of the Subcommittee and ranking member until his retirement. In 1987, he also was elected chair of the U.S. Bipartisan Commission on Comprehensive Health Care, also known as the Pepper Commission, when the commission's original leader, Representative Claude Pepper (D-FL), passed away. The Commission was charged with developing legislation that would provide Americans with comprehensive health and long-term care coverage.","In recognition of his contributions to improving the wellbeing of children and families and supporting education, in 1988, President Ronald Reagan appointed Rockefeller chair of the National Commission on Children. Recommendations made by the Commission centered on the creation of a Child Tax Credit, expansion of the Earned Income Tax Credit, and improvement to the federal approach to child welfare. As a member of the Finance Committee, he worked on the tax code to provide better financial support to the middle class and working poor. He sought to toughen child support enforcement laws, improve federal adoption and foster care services, and ensure a safe environment for children in the child welfare system with educational programs aimed at substance abuse prevention and treatment. He also worked for renewed investment in schools, school construction, and teachers, particularly those located in rural and impoverished areas.","Senator Rockefeller was an advocate for veterans' issues, serving on the Veterans' Affairs Committee for the entirety of his Senate career and acting as both chair and ranking minority member. He especially focused on expanding research and treatment for service-related illnesses, such as Gulf War Illness, Agent Orange, and issues relating to Atomic Veterans. He brought attention to treatment of Post-Traumatic Stress Disorder (PTSD) and the reform of the Veterans Affairs (VA) health care system.","Throughout his time in the Senate, Rockefeller was deeply involved with issues related to energy, the environment, coal miners, and mine safety. The first bill Rockefeller introduced in the Senate in 1985 was legislation intended to reduce the backlog of pending black lung cases, and he consistently worked to preserve the Black Lung Trust Fund while protecting coal jobs.","In 1992, he introduced the Coal Act to ensure retired miners received health benefits, and he threatened to keep the Senate in session over Christmas if they refused to pass the bill, which he described as a peak moment in his career. The Coal Act was passed as part of the Energy Policy Act of 1992, creating two new health care funds to protect the health benefits of all union coal miners, along with their widows and dependents. In 1995, the UMWA named him an honorary member, a distinction rarely bestowed on an elected official, because of his efforts on behalf of miners.","Following the January 2006 West Virginia Sago and Aracoma mine disasters, which together led to the deaths of 14 men, Rockefeller brought several senators from the Health, Education, Labor, and Pensions (HELP) Committee to meet with families of the Sago mine workers. Rockefeller then joined Committee Chair Senator Mike Enzi (R-WY) and Ranking Member Senator Ted Kennedy (D-MA) in drafting the MINER Act, which was signed into law in June 2006, establishing important new mine safety regulations.","Senator Rockefeller served on the Senate Select Intelligence Committee, 2001-2014, during critical and difficult years for the SSCI and the intelligence community. In January 2001, then-Democratic leader Tom Daschle (D-SD) appointed Rockefeller to the Committee. Eight months later the September 11, 2001, terrorist attacks occurred. In the months following the attacks, the United States launched operation Enduring Freedom in Afghanistan, and in March 2003, invaded Iraq. These events changed the nature and conduct of intelligence oversight. During Rockefeller's tenure on the committee, and particularly during his time as vice chairman and chairman, he made significant contributions in key areas, including the 9/11 investigation; the Iraq War and flawed intelligence on weapons of mass destruction; intelligence community reform; surveillance oversight and reform; the CIA's detention and interrogation program; cybersecurity; and the intelligence authorization process. ","Rockefeller also made significant contributions to communications policy. He co-authored the Universal Service Program for Schools and Libraries, known as E-Rate, which was authorized as part of the Telecommunications Act of 1996, making telecommunications and information services more affordable for schools and libraries. In 2010, Rockefeller introduced the Public Safety Spectrum Act, which created FirstNet, a nationwide wireless broadband network for the nation's first responders. It was signed into law as part of the Middle Class Tax Relief and Job Creation Act of 2012. He also supported net neutrality protections to keep the Internet open and free, and in 2011, he successfully led the Senate Floor against a resolution of disapproval of net neutrality rules.","He also championed the steel industry in West Virginia and the nation, earning him the nickname \"Senator Steel.\" Much of his work, launched largely through his position as co-chair of the Senate Steel Caucus, focused on providing income support and job training to laid-off employees and their families through Trade Adjustment Assistance (TAA), working with individual steel companies to mitigate the effects of closure and downsizing, and intervening in steel employee strikes. As a member of both the Committee on Commerce, Science, and Transportation, and the Committee on Finance, Rockefeller also addressed concerns about American manufacturing; trade protections and relief for workers negatively impacted by trade; and tax credits supporting research and development and encouraging businesses to build and expand.","For the state of West Virginia, Senator Rockefeller made jobs and economic development a priority. In 1988 he founded the Discover the Real West Virginia Program (DRWV), later formalized as the Discover the Real West Virginia Foundation, which showcased business and investment opportunities in West Virginia. He launched the \"Project Harvest\" trade mission in 1995 to bring state and international business leaders and investors together. Rockefeller's early experiences in Japan and knowledge of the language and culture aided in attracting the Toyota company to the state, resulting in the opening of the Buffalo, WV, plant in 1996. In the ensuing years, more than 20 other Japanese companies followed. Further, he encouraged the growth of the West Virginia tourism and travel industry through legislation that conserved lands, designated scenic areas, and promoted better transportation infrastructure.","In January 2013, Senator Rockefeller announced that he would not seek reelection. In his retirement announcement, he reflected that \"public service demands, and deserves nothing less than every single thing that you have to bring to bear, and that is what I have given.\" As he prepared to leave the Congress in December 2014, his Senate colleagues offered tributes on the Senate Floor recognizing his impressive legislative record, distinguished career, and legacy of compassionate and conscientious service.","Sources: ","Grimes, Richard S. \"Jay Rockefeller.\" The West Virginia Encyclopedia. http://www.wvencyclopedia.org/articles/110","Jay: A Rockefeller's Journey. Produced by Suzanne Higgins and Russ Barbour. 2015. Online video. West Virginia Public Broadcasting. http://video.wvpublic.org/video/2365511585/","\"A Record of Achievement for West Virginia: Energy and Environment Issues (Legacy on Energy, Environment and Coal Miners),\" 2014 May 30, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"Review of Senator John D. Rockefeller's Service on the Senate Select Committee on Intelligence: 2001-2015,\" 2014 December 17, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries. ","\"Rockefeller, John Davison IV (Jay), (1937 - ).\" Biographical Directory of the United States Congress, 1774-present. http://bioguide.congress.gov/scripts/biodisplay.pl?index=R000361","\"Senator Jay Rockefeller Retirement Announcement.\"  2013 January 11, 2013. Online video clip. C-SPAN. http://www.c-span.org/video/?310340-1/senator-jay-rockefeller-retirement-announcement","\"Senator Rockefeller's Health Care Accomplishments: 99th-113th Congress Memorandum,\" 2014, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"Tributes to John D. Rockefeller.\" 2014 December 4. Congressional Record 160:147 p. S6343. Congress.gov.\nhttps://www.congress.gov/crec/2014/12/04/CREC-2014-12-04-pt1-PgS6343-2.pdf","\"Veterans' Legacy Memorandum,\" 2014 April 11, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.\n \n\"West Virginia Wesleyan College Legacy Memorandum,\" 2014 October, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"A Record of Achievement for West Virginia: Diversifying West Virginia's Economy for the 21st Century (Your Legacy Memo on Jobs and Economic Growth in West Virginia),\" 2014, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"Your Legacy on FirstNet – Public Safety Spectrum Act,\" 2014 October 24, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"Your Legacy on Net Neutrality,\" 2014 October 3, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","Processed by Danielle Emerling, 2015-\nProcessing assistants: Ashley Brooker, Dzondria Tarver, Leo Gmeindl, Casey DeHaven, Joshua Childs","The Senator John D. (Jay) Rockefeller IV papers are in process. The contents of this finding aid will be revised as progress is made on the collection.","The bulk of the Senator John D. (Jay) Rockefeller IV papers document his 30-year career in the United States Senate with additional materials related to his earlier political career.  The records were maintained by Senator Rockefeller's Washington, DC, office and West Virginia state offices in Charleston, Beckley, Fairmont, and Martinsburg. Record formats include papers, audiovisual materials, born-digital resources, photographs, and memorabilia. The collection consists of approximately 2011 linear feet of paper records and two terabytes of electronic records.","The first subgroup, Constituent Services, reflects the work Senator Rockefeller and his staff performed for the state and people of West Virginia. It consists of constituent casework, issue mail, grant and project files, and academy files. ","The second subgroup, Legislative files, is composed of materials related to legislative and committee work. Legislative staff files; subject files; correspondence; committee files; and legislative activities, voting records, and accomplishments comprise this subgroup. ","The third subgroup, Press files, illustrates Senator Rockefeller's interactions with the media and outreach to the state of West Virginia and his constituents. It contains press staff files, speeches and statements, press releases, photographs, audiovisual materials, clippings, publications, and newsletters and mailings. ","The fourth subgroup, Personal and Political files, consists of Legacy Memos, schedules, personal files and correspondence, campaign files, and trip files.  ","The fifth subgroup, Office files, contains a small number of office management files. ","The sixth subgroup, Memorabilia, consists of a large collection of framed items, plaques, and objects, many of which Senator Rockefeller received as gifts during his service. It contains a large number of foreign gifts, particularly from Japan and Taiwan. ","Materials may contain sensitive or private information. Researchers may use data collected from these materials in the statistical aggregate or as an example to illustrate a theme. No identifying information should point to specific individuals or families mentioned in the files. ","Materials produced by public servants while carrying out official duties are not copyrighted. Materials created outside of official duties, including diaries, personal correspondence, and campaign materials, are protected by copyright. Use of materials from this collection beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. Permission to publish or reproduce is required from the copyright holder. For more information, please contact the West Virginia \u0026 Regional History Center. ","John Davison (Jay) Rockefeller IV (b. 1937) represented West Virginia in the United States Senate for five terms. He was elected as a Democrat to the Ninety-ninth Congress and served from January 15, 1985, to January 3, 2015. He was not a candidate for reelection in 2014. Rockefeller previously served in the West Virginia House of Delegates (1966-1968); as Secretary of State of West Virginia (1968-1972); president of West Virginia Wesleyan College (1973-1976); and Governor of West Virginia (1977-1985). From 1964-1966, he was a volunteer in the Volunteers In Service To America (VISTA) program in Emmons, West Virginia. The bulk of the Senator John D. (Jay) Rockefeller IV papers document his 30-year career in the United States Senate with additional materials related to his earlier political career.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","United States. Congress. Senate. Committee on Commerce","United States. Congress. Senate. Select Committee on Intelligence","United States. Congress. Senate. Committee on Veterans' Affairs","United States. Congress. Pepper Commission","United States. National Commission on Children","Rockefeller, John D., IV (John Davison), 1937-","Rockefeller, Sharon Percy, 1944-","Materials entirely in English."],"unitid_tesim":["A\u0026M 4050","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1"],"normalized_title_ssm":["Senator John D. (Jay) Rockefeller IV papers"],"collection_title_tesim":["Senator John D. (Jay) Rockefeller IV papers"],"collection_ssim":["Senator John D. (Jay) Rockefeller IV papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["United States -- Politics and government -- 20th century","West Virginia -- Politics and government","National security","West Virginia -- Politics and government","United States -- Politics and government","Democratic Party"],"geogname_ssim":["United States -- Politics and government -- 20th century","West Virginia -- Politics and government","National security","West Virginia -- Politics and government","United States -- Politics and government","Democratic Party"],"creator_ssm":["Rockefeller, John D., IV (John Davison), 1937-"],"creator_ssim":["Rockefeller, John D., IV (John Davison), 1937-"],"creator_persname_ssim":["Rockefeller, John D., IV (John Davison), 1937-"],"creators_ssim":["Rockefeller, John D., IV (John Davison), 1937-"],"places_ssim":["United States -- Politics and government -- 20th century","West Virginia -- Politics and government","National security","West Virginia -- Politics and government","United States -- Politics and government","Democratic Party"],"access_terms_ssm":["Materials may contain sensitive or private information. Researchers may use data collected from these materials in the statistical aggregate or as an example to illustrate a theme. No identifying information should point to specific individuals or families mentioned in the files. ","Materials produced by public servants while carrying out official duties are not copyrighted. Materials created outside of official duties, including diaries, personal correspondence, and campaign materials, are protected by copyright. Use of materials from this collection beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. Permission to publish or reproduce is required from the copyright holder. For more information, please contact the West Virginia \u0026 Regional History Center. "],"acqinfo_ssim":["Gift of Senator John D. (Jay) Rockefeller IV, 2014-2015"],"access_subjects_ssim":["United States. Congress -- History -- 20th century","United States. Congress -- Archives","Steel industry and trade","Wireless communication systems -- Law and legislation","Child welfare","Coal miners--West Virginia","Veterans--United States","Health care reform -- United States","Coal mines and mining -- Law and legislation -- United States","Politicians -- United States"],"access_subjects_ssm":["United States. Congress -- History -- 20th century","United States. Congress -- Archives","Steel industry and trade","Wireless communication systems -- Law and legislation","Child welfare","Coal miners--West Virginia","Veterans--United States","Health care reform -- United States","Coal mines and mining -- Law and legislation -- United States","Politicians -- United States"],"has_online_content_ssim":["false"],"extent_ssm":["2011 Linear Feet record cartons","2 Terabytes"],"extent_tesim":["2011 Linear Feet record cartons","2 Terabytes"],"date_range_isim":[1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015],"accessrestrict_html_tesm":["\u003cp\u003eThe majority of the Senator John D. (Jay) Rockefeller IV papers are closed until 2035. Permission to access materials prior to 2035 may be given at the donor's discretion. \u003c/p\u003e\n","\u003cp\u003eMaterials previously made publicly available, such as speeches, press releases, photographs, press interviews, clippings, and publications are open for research. \u003c/p\u003e\n","\u003cp\u003eThe collection is stored off-site. Researchers should contact the West Virginia \u0026amp; Regional History Center prior to visiting to ensure materials are available. \u003c/p\u003e\n","\u003cp\u003eSome digital materials are available online at https://rockefeller.lib.wvu.edu/.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The majority of the Senator John D. (Jay) Rockefeller IV papers are closed until 2035. Permission to access materials prior to 2035 may be given at the donor's discretion. ","Materials previously made publicly available, such as speeches, press releases, photographs, press interviews, clippings, and publications are open for research. ","The collection is stored off-site. Researchers should contact the West Virginia \u0026 Regional History Center prior to visiting to ensure materials are available. ","Some digital materials are available online at https://rockefeller.lib.wvu.edu/."],"arrangement_html_tesm":["\u003cp\u003eThe papers are arranged into six subgroups, and each subgroup is further arranged into series. Digital materials received on external hard drives, USB flash drives, floppy disks, CDs, and DVDs are arranged in the appropriate series and reflect the arrangement of the paper records.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The papers are arranged into six subgroups, and each subgroup is further arranged into series. Digital materials received on external hard drives, USB flash drives, floppy disks, CDs, and DVDs are arranged in the appropriate series and reflect the arrangement of the paper records."],"bioghist_html_tesm":["\u003cp\u003eSenator John Davison (Jay) Rockefeller IV served the people and state of West Virginia for more than 50 years. Rockefeller came to West Virginia in 1964 as a VISTA volunteer in the small community of Emmons, an experience that shaped his extensive career in public service. He served in the West Virginia House of Delegates (1966-1968); as Secretary of State of West Virginia (1968-1972); President of West Virginia Wesleyan College (1973-1976); and Governor of West Virginia (1977-1985). In 1984 he was elected to the United States Senate and was reelected four times, in 1990, 1996, 2002, and 2008, before retiring in 2015.\u003c/p\u003e\n","\u003cp\u003eJay Rockefeller was born in New York, New York, on June 18, 1937, to philanthropists John Davison Rockefeller III and Blanchette Ferry Hooker. He is the great-grandson of John D. Rockefeller, founder of the Standard Oil Company, and nephew of businessman and politician Nelson Aldrich Rockefeller. Jay Rockefeller graduated from Phillips Exeter Academy, New Hampshire, in 1955, and graduated from Harvard University in 1961 with a B.A. in Far Eastern Languages and History. In his junior year at Harvard, he attended the International Christian University in Tokyo, Japan, and he spent three years studying Japanese.\u003c/p\u003e\n","\u003cp\u003eIn 1964, Rockefeller joined the newly formed national service program Volunteers In Service to America (VISTA) aimed at fighting poverty. He served in Emmons, WV, a small mining community located in Boone and Kanawha Counties, for two years. His efforts in Emmons included starting a Little League baseball team, extending school bus service to the rural area, and providing transportation to dental clinics. He built a community center and obtained access to mobile health screenings for women.\u003c/p\u003e\n","\u003cp\u003eRockefeller entered politics in 1966 as a Kanawha County candidate for the West Virginia House of Delegates. He changed his party affiliation to Democrat, breaking with the family's traditional affiliation with the Republican Party.\u003c/p\u003e\n","\u003cp\u003eIn 1967, Rockefeller married Sharon Lee Percy, daughter of U.S. Senator Charles Percy of Illinois. Their Chicago wedding was featured on the cover of Life magazine. They had four children: John Davison (Jamie) V, Valerie, Charles, and Justin Aldrich.\u003c/p\u003e\n","\u003cp\u003eHe ran for West Virginia Secretary of State in 1968, winning the election against Republican John Callebs. As Secretary of State, Rockefeller pushed for election law reform and broke up several county Democratic political machines. He was successful in making elections more transparent and in reducing instances of election fraud by removing the names of deceased people from the state's official list of registered voters.\u003c/p\u003e\n","\u003cp\u003eRockefeller announced his candidacy for governor of West Virginia in 1972 against incumbent Republican Governor Arch Moore. Moore won reelection by 72,000 votes.\u003c/p\u003e\n","\u003cp\u003eWithin months of his defeat, Rockefeller was named president of West Virginia Wesleyan College, located in Buckhannon, WV. Some of his biggest accomplishments include increasing enrollment, creating an active recruitment campaign, and streamlining operations. He submitted a letter of resignation to the College in 1975 to prepare for the next gubernatorial election, for which he campaigned throughout 1976.\u003c/p\u003e\n","\u003cp\u003eRockefeller's second run for governor was successful: he beat Republican candidate Cecil Underwood by more than 242,000 votes, the largest majority in state history. Natural disaster, strikes, and a worsening economy posed serious challenges during his years as governor. In the spring of 1977, major spring floods in the southern West Virginia counties of McDowell, Wayne, Logan, and Ming wiped entire towns away, and made safe housing above flood plains a focus of Rockefeller's administration.\u003c/p\u003e\n","\u003cp\u003eThe same year saw the beginning of the 111-day national Bituminous Coal Strike of 1977-1978 led by the United Mine Workers of America (UMWA) and the AFL-CIO. Rockefeller refused to call upon the National Guard to suppress the miners' strike. At its conclusion, President Jimmy Carter appointed Rockefeller to lead the first major federal study of coal mining in America in three decades. Rockefeller served as chair of the President's Commission on Coal and pushed for a national energy strategy that included Appalachian coal. He also created the West Virginia Board of Coal Mine Health and Safety, reorganized state agencies, and set up senior centers statewide.\u003c/p\u003e\n","\u003cp\u003eIn 1980, Rockefeller ran for a second term as governor, again facing Republican Arch Moore, and won by 64,000 votes. Rockefeller faced another challenging four years and worked to maintain the state's economy as the federal government cut funding in the midst of an economic downturn, industries struggled to remain open, and unemployment rates across the state rose.\u003c/p\u003e\n","\u003cp\u003eAt the end of his governorship, Rockefeller ran for the United States Senate as a Democrat against businessman John Raese of Morgantown, WV. Rockefeller won the 1984 election by four percentage points and went on to fill the seat left vacant after long-time Senator Jennings Randolph retired.\u003c/p\u003e\n","\u003cp\u003eRockefeller began his service in the U.S. Senate on January 15, 1985, and served until 2015. He became a leading champion for health care reform, an advocate for improving the lives of children and working families, and a supporter of the nation's soldiers, veterans, and senior citizens. He served as chair of the Committee on Veterans Affairs (1993-1994, 2001-2003); the Select Committee on Intelligence (2007-2009); the Committee on Commerce, Science, and Transportation (2009-2015); and the Committee on Finance Subcommittee on Medicare and Long-term Care (1989-1994, 2001-2003, 2007-2014). He also served as vice-chair of the Select Committee on Intelligence (2003-2006).\u003c/p\u003e\n","\u003cp\u003eHe held additional leadership positions as chairman on the Pepper Commission (1987-1990), the U.S. Senate Steel Caucus (1989-1994, 2013-2015, co-chair 1995-2013), the National Commission on Children (1989-1993), and the Democratic Technology and Communications Committee (1995-2003). He was also a member of several Senate groups, including the Steering Committee on Democratic Policy, the Alternative Fuels Council, and the Coal Caucus.\u003c/p\u003e\n","\u003cp\u003eInfluenced by his two years in Emmons, WV, Rockefeller championed health care issues, and health care reform throughout his Senate career. He supported measures to improve and modernize Medicare, expand access to health care, and increase health coverage for children, authoring the Children's Health Insurance Program (CHIP). He introduced and co-sponsored more than 2,000 pieces of major health-related legislation and provided leadership and policy on health care reform for both the Clinton and Obama administrations. During the latter, he contributed to the successful passage of the Affordable Care Act and was a proponent of providing people with a not-for-profit insurance company backed by the government, commonly known as a public option.\u003c/p\u003e\n","\u003cp\u003eHe was appointed to the Senate Finance Committee and its Subcommittee on Medicare and Long-term Care (later known as the Subcommittee on Health Care) in 1987 and served as chairman of the Subcommittee and ranking member until his retirement. In 1987, he also was elected chair of the U.S. Bipartisan Commission on Comprehensive Health Care, also known as the Pepper Commission, when the commission's original leader, Representative Claude Pepper (D-FL), passed away. The Commission was charged with developing legislation that would provide Americans with comprehensive health and long-term care coverage.\u003c/p\u003e\n","\u003cp\u003eIn recognition of his contributions to improving the wellbeing of children and families and supporting education, in 1988, President Ronald Reagan appointed Rockefeller chair of the National Commission on Children. Recommendations made by the Commission centered on the creation of a Child Tax Credit, expansion of the Earned Income Tax Credit, and improvement to the federal approach to child welfare. As a member of the Finance Committee, he worked on the tax code to provide better financial support to the middle class and working poor. He sought to toughen child support enforcement laws, improve federal adoption and foster care services, and ensure a safe environment for children in the child welfare system with educational programs aimed at substance abuse prevention and treatment. He also worked for renewed investment in schools, school construction, and teachers, particularly those located in rural and impoverished areas.\u003c/p\u003e\n","\u003cp\u003eSenator Rockefeller was an advocate for veterans' issues, serving on the Veterans' Affairs Committee for the entirety of his Senate career and acting as both chair and ranking minority member. He especially focused on expanding research and treatment for service-related illnesses, such as Gulf War Illness, Agent Orange, and issues relating to Atomic Veterans. He brought attention to treatment of Post-Traumatic Stress Disorder (PTSD) and the reform of the Veterans Affairs (VA) health care system.\u003c/p\u003e\n","\u003cp\u003eThroughout his time in the Senate, Rockefeller was deeply involved with issues related to energy, the environment, coal miners, and mine safety. The first bill Rockefeller introduced in the Senate in 1985 was legislation intended to reduce the backlog of pending black lung cases, and he consistently worked to preserve the Black Lung Trust Fund while protecting coal jobs.\u003c/p\u003e\n","\u003cp\u003eIn 1992, he introduced the Coal Act to ensure retired miners received health benefits, and he threatened to keep the Senate in session over Christmas if they refused to pass the bill, which he described as a peak moment in his career. The Coal Act was passed as part of the Energy Policy Act of 1992, creating two new health care funds to protect the health benefits of all union coal miners, along with their widows and dependents. In 1995, the UMWA named him an honorary member, a distinction rarely bestowed on an elected official, because of his efforts on behalf of miners.\u003c/p\u003e\n","\u003cp\u003eFollowing the January 2006 West Virginia Sago and Aracoma mine disasters, which together led to the deaths of 14 men, Rockefeller brought several senators from the Health, Education, Labor, and Pensions (HELP) Committee to meet with families of the Sago mine workers. Rockefeller then joined Committee Chair Senator Mike Enzi (R-WY) and Ranking Member Senator Ted Kennedy (D-MA) in drafting the MINER Act, which was signed into law in June 2006, establishing important new mine safety regulations.\u003c/p\u003e\n","\u003cp\u003eSenator Rockefeller served on the Senate Select Intelligence Committee, 2001-2014, during critical and difficult years for the SSCI and the intelligence community. In January 2001, then-Democratic leader Tom Daschle (D-SD) appointed Rockefeller to the Committee. Eight months later the September 11, 2001, terrorist attacks occurred. In the months following the attacks, the United States launched operation Enduring Freedom in Afghanistan, and in March 2003, invaded Iraq. These events changed the nature and conduct of intelligence oversight. During Rockefeller's tenure on the committee, and particularly during his time as vice chairman and chairman, he made significant contributions in key areas, including the 9/11 investigation; the Iraq War and flawed intelligence on weapons of mass destruction; intelligence community reform; surveillance oversight and reform; the CIA's detention and interrogation program; cybersecurity; and the intelligence authorization process. \u003c/p\u003e\n","\u003cp\u003eRockefeller also made significant contributions to communications policy. He co-authored the Universal Service Program for Schools and Libraries, known as E-Rate, which was authorized as part of the Telecommunications Act of 1996, making telecommunications and information services more affordable for schools and libraries. In 2010, Rockefeller introduced the Public Safety Spectrum Act, which created FirstNet, a nationwide wireless broadband network for the nation's first responders. It was signed into law as part of the Middle Class Tax Relief and Job Creation Act of 2012. He also supported net neutrality protections to keep the Internet open and free, and in 2011, he successfully led the Senate Floor against a resolution of disapproval of net neutrality rules.\u003c/p\u003e\n","\u003cp\u003eHe also championed the steel industry in West Virginia and the nation, earning him the nickname \"Senator Steel.\" Much of his work, launched largely through his position as co-chair of the Senate Steel Caucus, focused on providing income support and job training to laid-off employees and their families through Trade Adjustment Assistance (TAA), working with individual steel companies to mitigate the effects of closure and downsizing, and intervening in steel employee strikes. As a member of both the Committee on Commerce, Science, and Transportation, and the Committee on Finance, Rockefeller also addressed concerns about American manufacturing; trade protections and relief for workers negatively impacted by trade; and tax credits supporting research and development and encouraging businesses to build and expand.\u003c/p\u003e\n","\u003cp\u003eFor the state of West Virginia, Senator Rockefeller made jobs and economic development a priority. In 1988 he founded the Discover the Real West Virginia Program (DRWV), later formalized as the Discover the Real West Virginia Foundation, which showcased business and investment opportunities in West Virginia. He launched the \"Project Harvest\" trade mission in 1995 to bring state and international business leaders and investors together. Rockefeller's early experiences in Japan and knowledge of the language and culture aided in attracting the Toyota company to the state, resulting in the opening of the Buffalo, WV, plant in 1996. In the ensuing years, more than 20 other Japanese companies followed. Further, he encouraged the growth of the West Virginia tourism and travel industry through legislation that conserved lands, designated scenic areas, and promoted better transportation infrastructure.\u003c/p\u003e\n","\u003cp\u003eIn January 2013, Senator Rockefeller announced that he would not seek reelection. In his retirement announcement, he reflected that \"public service demands, and deserves nothing less than every single thing that you have to bring to bear, and that is what I have given.\" As he prepared to leave the Congress in December 2014, his Senate colleagues offered tributes on the Senate Floor recognizing his impressive legislative record, distinguished career, and legacy of compassionate and conscientious service.\u003c/p\u003e\n","\u003cp\u003eSources: \u003c/p\u003e\n","\u003cp\u003eGrimes, Richard S. \"Jay Rockefeller.\" The West Virginia Encyclopedia. http://www.wvencyclopedia.org/articles/110\u003c/p\u003e\n","\u003cp\u003eJay: A Rockefeller's Journey. Produced by Suzanne Higgins and Russ Barbour. 2015. Online video. West Virginia Public Broadcasting. http://video.wvpublic.org/video/2365511585/\u003c/p\u003e\n","\u003cp\u003e\"A Record of Achievement for West Virginia: Energy and Environment Issues (Legacy on Energy, Environment and Coal Miners),\" 2014 May 30, A\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026amp; Regional History Center, West Virginia University Libraries.\u003c/p\u003e\n","\u003cp\u003e\"Review of Senator John D. Rockefeller's Service on the Senate Select Committee on Intelligence: 2001-2015,\" 2014 December 17, A\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026amp; Regional History Center, West Virginia University Libraries. \u003c/p\u003e\n","\u003cp\u003e\"Rockefeller, John Davison IV (Jay), (1937 - ).\" Biographical Directory of the United States Congress, 1774-present. http://bioguide.congress.gov/scripts/biodisplay.pl?index=R000361\u003c/p\u003e\n","\u003cp\u003e\"Senator Jay Rockefeller Retirement Announcement.\"  2013 January 11, 2013. Online video clip. C-SPAN. http://www.c-span.org/video/?310340-1/senator-jay-rockefeller-retirement-announcement\u003c/p\u003e\n","\u003cp\u003e\"Senator Rockefeller's Health Care Accomplishments: 99th-113th Congress Memorandum,\" 2014, A\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026amp; Regional History Center, West Virginia University Libraries.\u003c/p\u003e\n","\u003cp\u003e\"Tributes to John D. Rockefeller.\" 2014 December 4. Congressional Record 160:147 p. S6343. Congress.gov.\nhttps://www.congress.gov/crec/2014/12/04/CREC-2014-12-04-pt1-PgS6343-2.pdf\u003c/p\u003e\n","\u003cp\u003e\"Veterans' Legacy Memorandum,\" 2014 April 11, A\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026amp; Regional History Center, West Virginia University Libraries.\n \n\"West Virginia Wesleyan College Legacy Memorandum,\" 2014 October, A\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026amp; Regional History Center, West Virginia University Libraries.\u003c/p\u003e\n","\u003cp\u003e\"A Record of Achievement for West Virginia: Diversifying West Virginia's Economy for the 21st Century (Your Legacy Memo on Jobs and Economic Growth in West Virginia),\" 2014, A\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026amp; Regional History Center, West Virginia University Libraries.\u003c/p\u003e\n","\u003cp\u003e\"Your Legacy on FirstNet – Public Safety Spectrum Act,\" 2014 October 24, A\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026amp; Regional History Center, West Virginia University Libraries.\u003c/p\u003e\n","\u003cp\u003e\"Your Legacy on Net Neutrality,\" 2014 October 3, A\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026amp; Regional History Center, West Virginia University Libraries.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Senator John Davison (Jay) Rockefeller IV served the people and state of West Virginia for more than 50 years. Rockefeller came to West Virginia in 1964 as a VISTA volunteer in the small community of Emmons, an experience that shaped his extensive career in public service. He served in the West Virginia House of Delegates (1966-1968); as Secretary of State of West Virginia (1968-1972); President of West Virginia Wesleyan College (1973-1976); and Governor of West Virginia (1977-1985). In 1984 he was elected to the United States Senate and was reelected four times, in 1990, 1996, 2002, and 2008, before retiring in 2015.","Jay Rockefeller was born in New York, New York, on June 18, 1937, to philanthropists John Davison Rockefeller III and Blanchette Ferry Hooker. He is the great-grandson of John D. Rockefeller, founder of the Standard Oil Company, and nephew of businessman and politician Nelson Aldrich Rockefeller. Jay Rockefeller graduated from Phillips Exeter Academy, New Hampshire, in 1955, and graduated from Harvard University in 1961 with a B.A. in Far Eastern Languages and History. In his junior year at Harvard, he attended the International Christian University in Tokyo, Japan, and he spent three years studying Japanese.","In 1964, Rockefeller joined the newly formed national service program Volunteers In Service to America (VISTA) aimed at fighting poverty. He served in Emmons, WV, a small mining community located in Boone and Kanawha Counties, for two years. His efforts in Emmons included starting a Little League baseball team, extending school bus service to the rural area, and providing transportation to dental clinics. He built a community center and obtained access to mobile health screenings for women.","Rockefeller entered politics in 1966 as a Kanawha County candidate for the West Virginia House of Delegates. He changed his party affiliation to Democrat, breaking with the family's traditional affiliation with the Republican Party.","In 1967, Rockefeller married Sharon Lee Percy, daughter of U.S. Senator Charles Percy of Illinois. Their Chicago wedding was featured on the cover of Life magazine. They had four children: John Davison (Jamie) V, Valerie, Charles, and Justin Aldrich.","He ran for West Virginia Secretary of State in 1968, winning the election against Republican John Callebs. As Secretary of State, Rockefeller pushed for election law reform and broke up several county Democratic political machines. He was successful in making elections more transparent and in reducing instances of election fraud by removing the names of deceased people from the state's official list of registered voters.","Rockefeller announced his candidacy for governor of West Virginia in 1972 against incumbent Republican Governor Arch Moore. Moore won reelection by 72,000 votes.","Within months of his defeat, Rockefeller was named president of West Virginia Wesleyan College, located in Buckhannon, WV. Some of his biggest accomplishments include increasing enrollment, creating an active recruitment campaign, and streamlining operations. He submitted a letter of resignation to the College in 1975 to prepare for the next gubernatorial election, for which he campaigned throughout 1976.","Rockefeller's second run for governor was successful: he beat Republican candidate Cecil Underwood by more than 242,000 votes, the largest majority in state history. Natural disaster, strikes, and a worsening economy posed serious challenges during his years as governor. In the spring of 1977, major spring floods in the southern West Virginia counties of McDowell, Wayne, Logan, and Ming wiped entire towns away, and made safe housing above flood plains a focus of Rockefeller's administration.","The same year saw the beginning of the 111-day national Bituminous Coal Strike of 1977-1978 led by the United Mine Workers of America (UMWA) and the AFL-CIO. Rockefeller refused to call upon the National Guard to suppress the miners' strike. At its conclusion, President Jimmy Carter appointed Rockefeller to lead the first major federal study of coal mining in America in three decades. Rockefeller served as chair of the President's Commission on Coal and pushed for a national energy strategy that included Appalachian coal. He also created the West Virginia Board of Coal Mine Health and Safety, reorganized state agencies, and set up senior centers statewide.","In 1980, Rockefeller ran for a second term as governor, again facing Republican Arch Moore, and won by 64,000 votes. Rockefeller faced another challenging four years and worked to maintain the state's economy as the federal government cut funding in the midst of an economic downturn, industries struggled to remain open, and unemployment rates across the state rose.","At the end of his governorship, Rockefeller ran for the United States Senate as a Democrat against businessman John Raese of Morgantown, WV. Rockefeller won the 1984 election by four percentage points and went on to fill the seat left vacant after long-time Senator Jennings Randolph retired.","Rockefeller began his service in the U.S. Senate on January 15, 1985, and served until 2015. He became a leading champion for health care reform, an advocate for improving the lives of children and working families, and a supporter of the nation's soldiers, veterans, and senior citizens. He served as chair of the Committee on Veterans Affairs (1993-1994, 2001-2003); the Select Committee on Intelligence (2007-2009); the Committee on Commerce, Science, and Transportation (2009-2015); and the Committee on Finance Subcommittee on Medicare and Long-term Care (1989-1994, 2001-2003, 2007-2014). He also served as vice-chair of the Select Committee on Intelligence (2003-2006).","He held additional leadership positions as chairman on the Pepper Commission (1987-1990), the U.S. Senate Steel Caucus (1989-1994, 2013-2015, co-chair 1995-2013), the National Commission on Children (1989-1993), and the Democratic Technology and Communications Committee (1995-2003). He was also a member of several Senate groups, including the Steering Committee on Democratic Policy, the Alternative Fuels Council, and the Coal Caucus.","Influenced by his two years in Emmons, WV, Rockefeller championed health care issues, and health care reform throughout his Senate career. He supported measures to improve and modernize Medicare, expand access to health care, and increase health coverage for children, authoring the Children's Health Insurance Program (CHIP). He introduced and co-sponsored more than 2,000 pieces of major health-related legislation and provided leadership and policy on health care reform for both the Clinton and Obama administrations. During the latter, he contributed to the successful passage of the Affordable Care Act and was a proponent of providing people with a not-for-profit insurance company backed by the government, commonly known as a public option.","He was appointed to the Senate Finance Committee and its Subcommittee on Medicare and Long-term Care (later known as the Subcommittee on Health Care) in 1987 and served as chairman of the Subcommittee and ranking member until his retirement. In 1987, he also was elected chair of the U.S. Bipartisan Commission on Comprehensive Health Care, also known as the Pepper Commission, when the commission's original leader, Representative Claude Pepper (D-FL), passed away. The Commission was charged with developing legislation that would provide Americans with comprehensive health and long-term care coverage.","In recognition of his contributions to improving the wellbeing of children and families and supporting education, in 1988, President Ronald Reagan appointed Rockefeller chair of the National Commission on Children. Recommendations made by the Commission centered on the creation of a Child Tax Credit, expansion of the Earned Income Tax Credit, and improvement to the federal approach to child welfare. As a member of the Finance Committee, he worked on the tax code to provide better financial support to the middle class and working poor. He sought to toughen child support enforcement laws, improve federal adoption and foster care services, and ensure a safe environment for children in the child welfare system with educational programs aimed at substance abuse prevention and treatment. He also worked for renewed investment in schools, school construction, and teachers, particularly those located in rural and impoverished areas.","Senator Rockefeller was an advocate for veterans' issues, serving on the Veterans' Affairs Committee for the entirety of his Senate career and acting as both chair and ranking minority member. He especially focused on expanding research and treatment for service-related illnesses, such as Gulf War Illness, Agent Orange, and issues relating to Atomic Veterans. He brought attention to treatment of Post-Traumatic Stress Disorder (PTSD) and the reform of the Veterans Affairs (VA) health care system.","Throughout his time in the Senate, Rockefeller was deeply involved with issues related to energy, the environment, coal miners, and mine safety. The first bill Rockefeller introduced in the Senate in 1985 was legislation intended to reduce the backlog of pending black lung cases, and he consistently worked to preserve the Black Lung Trust Fund while protecting coal jobs.","In 1992, he introduced the Coal Act to ensure retired miners received health benefits, and he threatened to keep the Senate in session over Christmas if they refused to pass the bill, which he described as a peak moment in his career. The Coal Act was passed as part of the Energy Policy Act of 1992, creating two new health care funds to protect the health benefits of all union coal miners, along with their widows and dependents. In 1995, the UMWA named him an honorary member, a distinction rarely bestowed on an elected official, because of his efforts on behalf of miners.","Following the January 2006 West Virginia Sago and Aracoma mine disasters, which together led to the deaths of 14 men, Rockefeller brought several senators from the Health, Education, Labor, and Pensions (HELP) Committee to meet with families of the Sago mine workers. Rockefeller then joined Committee Chair Senator Mike Enzi (R-WY) and Ranking Member Senator Ted Kennedy (D-MA) in drafting the MINER Act, which was signed into law in June 2006, establishing important new mine safety regulations.","Senator Rockefeller served on the Senate Select Intelligence Committee, 2001-2014, during critical and difficult years for the SSCI and the intelligence community. In January 2001, then-Democratic leader Tom Daschle (D-SD) appointed Rockefeller to the Committee. Eight months later the September 11, 2001, terrorist attacks occurred. In the months following the attacks, the United States launched operation Enduring Freedom in Afghanistan, and in March 2003, invaded Iraq. These events changed the nature and conduct of intelligence oversight. During Rockefeller's tenure on the committee, and particularly during his time as vice chairman and chairman, he made significant contributions in key areas, including the 9/11 investigation; the Iraq War and flawed intelligence on weapons of mass destruction; intelligence community reform; surveillance oversight and reform; the CIA's detention and interrogation program; cybersecurity; and the intelligence authorization process. ","Rockefeller also made significant contributions to communications policy. He co-authored the Universal Service Program for Schools and Libraries, known as E-Rate, which was authorized as part of the Telecommunications Act of 1996, making telecommunications and information services more affordable for schools and libraries. In 2010, Rockefeller introduced the Public Safety Spectrum Act, which created FirstNet, a nationwide wireless broadband network for the nation's first responders. It was signed into law as part of the Middle Class Tax Relief and Job Creation Act of 2012. He also supported net neutrality protections to keep the Internet open and free, and in 2011, he successfully led the Senate Floor against a resolution of disapproval of net neutrality rules.","He also championed the steel industry in West Virginia and the nation, earning him the nickname \"Senator Steel.\" Much of his work, launched largely through his position as co-chair of the Senate Steel Caucus, focused on providing income support and job training to laid-off employees and their families through Trade Adjustment Assistance (TAA), working with individual steel companies to mitigate the effects of closure and downsizing, and intervening in steel employee strikes. As a member of both the Committee on Commerce, Science, and Transportation, and the Committee on Finance, Rockefeller also addressed concerns about American manufacturing; trade protections and relief for workers negatively impacted by trade; and tax credits supporting research and development and encouraging businesses to build and expand.","For the state of West Virginia, Senator Rockefeller made jobs and economic development a priority. In 1988 he founded the Discover the Real West Virginia Program (DRWV), later formalized as the Discover the Real West Virginia Foundation, which showcased business and investment opportunities in West Virginia. He launched the \"Project Harvest\" trade mission in 1995 to bring state and international business leaders and investors together. Rockefeller's early experiences in Japan and knowledge of the language and culture aided in attracting the Toyota company to the state, resulting in the opening of the Buffalo, WV, plant in 1996. In the ensuing years, more than 20 other Japanese companies followed. Further, he encouraged the growth of the West Virginia tourism and travel industry through legislation that conserved lands, designated scenic areas, and promoted better transportation infrastructure.","In January 2013, Senator Rockefeller announced that he would not seek reelection. In his retirement announcement, he reflected that \"public service demands, and deserves nothing less than every single thing that you have to bring to bear, and that is what I have given.\" As he prepared to leave the Congress in December 2014, his Senate colleagues offered tributes on the Senate Floor recognizing his impressive legislative record, distinguished career, and legacy of compassionate and conscientious service.","Sources: ","Grimes, Richard S. \"Jay Rockefeller.\" The West Virginia Encyclopedia. http://www.wvencyclopedia.org/articles/110","Jay: A Rockefeller's Journey. Produced by Suzanne Higgins and Russ Barbour. 2015. Online video. West Virginia Public Broadcasting. http://video.wvpublic.org/video/2365511585/","\"A Record of Achievement for West Virginia: Energy and Environment Issues (Legacy on Energy, Environment and Coal Miners),\" 2014 May 30, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"Review of Senator John D. Rockefeller's Service on the Senate Select Committee on Intelligence: 2001-2015,\" 2014 December 17, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries. ","\"Rockefeller, John Davison IV (Jay), (1937 - ).\" Biographical Directory of the United States Congress, 1774-present. http://bioguide.congress.gov/scripts/biodisplay.pl?index=R000361","\"Senator Jay Rockefeller Retirement Announcement.\"  2013 January 11, 2013. Online video clip. C-SPAN. http://www.c-span.org/video/?310340-1/senator-jay-rockefeller-retirement-announcement","\"Senator Rockefeller's Health Care Accomplishments: 99th-113th Congress Memorandum,\" 2014, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"Tributes to John D. Rockefeller.\" 2014 December 4. Congressional Record 160:147 p. S6343. Congress.gov.\nhttps://www.congress.gov/crec/2014/12/04/CREC-2014-12-04-pt1-PgS6343-2.pdf","\"Veterans' Legacy Memorandum,\" 2014 April 11, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.\n \n\"West Virginia Wesleyan College Legacy Memorandum,\" 2014 October, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"A Record of Achievement for West Virginia: Diversifying West Virginia's Economy for the 21st Century (Your Legacy Memo on Jobs and Economic Growth in West Virginia),\" 2014, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"Your Legacy on FirstNet – Public Safety Spectrum Act,\" 2014 October 24, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries.","\"Your Legacy on Net Neutrality,\" 2014 October 3, A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia \u0026 Regional History Center, West Virginia University Libraries."],"prefercite_html_tesm":["\u003cp\u003eA\u0026amp;M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia and Regional History Center, West Virginia University Libraries.\u003c/p\u003e"],"prefercite_tesim":["A\u0026M 4050, Senator John D. (Jay) Rockefeller IV papers, West Virginia and Regional History Center, West Virginia University Libraries."],"processinfo_html_tesm":["\u003cp\u003eProcessed by Danielle Emerling, 2015-\nProcessing assistants: Ashley Brooker, Dzondria Tarver, Leo Gmeindl, Casey DeHaven, Joshua Childs\u003c/p\u003e","\u003cp\u003eThe Senator John D. (Jay) Rockefeller IV papers are in process. The contents of this finding aid will be revised as progress is made on the collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["Processed by Danielle Emerling, 2015-\nProcessing assistants: Ashley Brooker, Dzondria Tarver, Leo Gmeindl, Casey DeHaven, Joshua Childs","The Senator John D. (Jay) Rockefeller IV papers are in process. The contents of this finding aid will be revised as progress is made on the collection."],"scopecontent_html_tesm":["\u003cp\u003eThe bulk of the Senator John D. (Jay) Rockefeller IV papers document his 30-year career in the United States Senate with additional materials related to his earlier political career.  The records were maintained by Senator Rockefeller's Washington, DC, office and West Virginia state offices in Charleston, Beckley, Fairmont, and Martinsburg. Record formats include papers, audiovisual materials, born-digital resources, photographs, and memorabilia. The collection consists of approximately 2011 linear feet of paper records and two terabytes of electronic records.\u003c/p\u003e\n","\u003cp\u003eThe first subgroup, Constituent Services, reflects the work Senator Rockefeller and his staff performed for the state and people of West Virginia. It consists of constituent casework, issue mail, grant and project files, and academy files. \u003c/p\u003e\n","\u003cp\u003eThe second subgroup, Legislative files, is composed of materials related to legislative and committee work. Legislative staff files; subject files; correspondence; committee files; and legislative activities, voting records, and accomplishments comprise this subgroup. \u003c/p\u003e\n","\u003cp\u003eThe third subgroup, Press files, illustrates Senator Rockefeller's interactions with the media and outreach to the state of West Virginia and his constituents. It contains press staff files, speeches and statements, press releases, photographs, audiovisual materials, clippings, publications, and newsletters and mailings. \u003c/p\u003e\n","\u003cp\u003eThe fourth subgroup, Personal and Political files, consists of Legacy Memos, schedules, personal files and correspondence, campaign files, and trip files.  \u003c/p\u003e\n","\u003cp\u003eThe fifth subgroup, Office files, contains a small number of office management files. \u003c/p\u003e\n","\u003cp\u003eThe sixth subgroup, Memorabilia, consists of a large collection of framed items, plaques, and objects, many of which Senator Rockefeller received as gifts during his service. It contains a large number of foreign gifts, particularly from Japan and Taiwan. \u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["The bulk of the Senator John D. (Jay) Rockefeller IV papers document his 30-year career in the United States Senate with additional materials related to his earlier political career.  The records were maintained by Senator Rockefeller's Washington, DC, office and West Virginia state offices in Charleston, Beckley, Fairmont, and Martinsburg. Record formats include papers, audiovisual materials, born-digital resources, photographs, and memorabilia. The collection consists of approximately 2011 linear feet of paper records and two terabytes of electronic records.","The first subgroup, Constituent Services, reflects the work Senator Rockefeller and his staff performed for the state and people of West Virginia. It consists of constituent casework, issue mail, grant and project files, and academy files. ","The second subgroup, Legislative files, is composed of materials related to legislative and committee work. Legislative staff files; subject files; correspondence; committee files; and legislative activities, voting records, and accomplishments comprise this subgroup. ","The third subgroup, Press files, illustrates Senator Rockefeller's interactions with the media and outreach to the state of West Virginia and his constituents. It contains press staff files, speeches and statements, press releases, photographs, audiovisual materials, clippings, publications, and newsletters and mailings. ","The fourth subgroup, Personal and Political files, consists of Legacy Memos, schedules, personal files and correspondence, campaign files, and trip files.  ","The fifth subgroup, Office files, contains a small number of office management files. ","The sixth subgroup, Memorabilia, consists of a large collection of framed items, plaques, and objects, many of which Senator Rockefeller received as gifts during his service. It contains a large number of foreign gifts, particularly from Japan and Taiwan. "],"userestrict_html_tesm":["\u003cp\u003eMaterials may contain sensitive or private information. Researchers may use data collected from these materials in the statistical aggregate or as an example to illustrate a theme. No identifying information should point to specific individuals or families mentioned in the files. \u003c/p\u003e\n","\u003cp\u003eMaterials produced by public servants while carrying out official duties are not copyrighted. Materials created outside of official duties, including diaries, personal correspondence, and campaign materials, are protected by copyright. Use of materials from this collection beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. Permission to publish or reproduce is required from the copyright holder. For more information, please contact the West Virginia \u0026amp; Regional History Center. \u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Materials may contain sensitive or private information. Researchers may use data collected from these materials in the statistical aggregate or as an example to illustrate a theme. No identifying information should point to specific individuals or families mentioned in the files. ","Materials produced by public servants while carrying out official duties are not copyrighted. Materials created outside of official duties, including diaries, personal correspondence, and campaign materials, are protected by copyright. Use of materials from this collection beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. Permission to publish or reproduce is required from the copyright holder. For more information, please contact the West Virginia \u0026 Regional History Center. "],"abstract_html_tesm":["\u003cabstract id=\"aspace_5d14eb4df51da22c7256b340d3bf4196\" label=\"Abstract\"\u003eJohn Davison (Jay) Rockefeller IV (b. 1937) represented West Virginia in the United States Senate for five terms. He was elected as a Democrat to the Ninety-ninth Congress and served from January 15, 1985, to January 3, 2015. He was not a candidate for reelection in 2014. Rockefeller previously served in the West Virginia House of Delegates (1966-1968); as Secretary of State of West Virginia (1968-1972); president of West Virginia Wesleyan College (1973-1976); and Governor of West Virginia (1977-1985). From 1964-1966, he was a volunteer in the Volunteers In Service To America (VISTA) program in Emmons, West Virginia. The bulk of the Senator John D. (Jay) Rockefeller IV papers document his 30-year career in the United States Senate with additional materials related to his earlier political career.\u003c/abstract\u003e"],"abstract_tesim":["John Davison (Jay) Rockefeller IV (b. 1937) represented West Virginia in the United States Senate for five terms. He was elected as a Democrat to the Ninety-ninth Congress and served from January 15, 1985, to January 3, 2015. He was not a candidate for reelection in 2014. Rockefeller previously served in the West Virginia House of Delegates (1966-1968); as Secretary of State of West Virginia (1968-1972); president of West Virginia Wesleyan College (1973-1976); and Governor of West Virginia (1977-1985). From 1964-1966, he was a volunteer in the Volunteers In Service To America (VISTA) program in Emmons, West Virginia. The bulk of the Senator John D. (Jay) Rockefeller IV papers document his 30-year career in the United States Senate with additional materials related to his earlier political career."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_ee7b69b7d85f8fa23b62c37a980adc85\" label=\"Physical Location \"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["United States. Congress. Senate. Committee on Commerce","United States. Congress. Senate. Select Committee on Intelligence","United States. Congress. Senate. Committee on Veterans' Affairs","United States. Congress. Pepper Commission","United States. National Commission on Children","Rockefeller, Sharon Percy, 1944-","Rockefeller, John D., IV (John Davison), 1937-"],"names_ssim":["West Virginia and Regional History Center","United States. Congress. Senate. Committee on Commerce","United States. Congress. Senate. Select Committee on Intelligence","United States. Congress. Senate. Committee on Veterans' Affairs","United States. Congress. Pepper Commission","United States. National Commission on Children","Rockefeller, John D., IV (John Davison), 1937-","Rockefeller, Sharon Percy, 1944-"],"corpname_ssim":["West Virginia and Regional History Center","United States. Congress. Senate. Committee on Commerce","United States. Congress. Senate. Select Committee on Intelligence","United States. Congress. Senate. Committee on Veterans' Affairs","United States. Congress. Pepper Commission","United States. National Commission on Children"],"persname_ssim":["Rockefeller, John D., IV (John Davison), 1937-","Rockefeller, Sharon Percy, 1944-"],"language_ssim":["Materials entirely in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":7179,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T23:07:49.324Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1_c03_c05_c04_c110"}},{"id":"wvmturhc_repositories_2_resources_1610_c03_c176","type":"Item","attributes":{"title":"2 - GSYP Workshop Rehearsals - Maryat, Brenda, and Others","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c176#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eVHS Tape\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c176#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_1610_c03_c176","ref_ssm":["wvmturhc_repositories_2_resources_1610_c03_c176"],"id":"wvmturhc_repositories_2_resources_1610_c03_c176","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610_c03","parent_ssi":"wvmturhc_repositories_2_resources_1610_c03","parent_ssim":["wvmturhc_repositories_2_resources_1610","wvmturhc_repositories_2_resources_1610_c03"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_1610","wvmturhc_repositories_2_resources_1610_c03"],"parent_unittitles_ssm":["Maryat Lee, Playwright, Papers","Series 3. Audiovisual Material"],"parent_unittitles_tesim":["Maryat Lee, Playwright, Papers","Series 3. Audiovisual Material"],"text":["Maryat Lee, Playwright, Papers","Series 3. Audiovisual Material","2 - GSYP Workshop Rehearsals - Maryat, Brenda, and Others","Box 43a","Item 2","VHS Tape"],"title_filing_ssi":"2 - GSYP Workshop Rehearsals - Maryat, Brenda, and Others","title_ssm":["2 - GSYP Workshop Rehearsals - Maryat, Brenda, and Others"],"title_tesim":["2 - GSYP Workshop Rehearsals - Maryat, Brenda, and Others"],"unitdate_other_ssim":["1988"],"normalized_date_ssm":["1988"],"normalized_title_ssm":["2 - GSYP Workshop Rehearsals - Maryat, Brenda, and Others"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Maryat Lee, Playwright, Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":294,"parent_access_restrict_tesm":["No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. "],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1988],"containers_ssim":["Box 43a","Item 2"],"scopecontent_html_tesm":["\u003cp\u003eVHS Tape\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["VHS Tape"],"_nest_path_":"/components#2/components#175","timestamp":"2026-04-30T23:14:58.776Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1610","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1610.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195886","title_ssm":["Maryat Lee, Playwright, Papers"],"title_tesim":["Maryat Lee, Playwright, Papers"],"unitdate_ssm":["1902-1997","1951-1989"],"unitdate_bulk_ssim":["1951-1989"],"unitdate_inclusive_ssm":["1902-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"text":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610","Maryat Lee, Playwright, Papers","Hinton (W. Va.)","New York (N.Y.)","West Virginia Feminist Activist Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization","No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. ","Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  ","This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert","English \n.    "],"unitid_tesim":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"normalized_title_ssm":["Maryat Lee, Playwright, Papers"],"collection_title_tesim":["Maryat Lee, Playwright, Papers"],"collection_ssim":["Maryat Lee, Playwright, Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Hinton (W. Va.)","New York (N.Y.)"],"geogname_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"creator_ssm":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"creator_corpname_ssim":["West Virginia University. Art Museum"],"creators_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"places_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift from Lee, Robert, 1998 June 5. ","Gift from Lee, Robert, 1998 July 11.","Transfer from West Virginia University Art Museum, 2022 April 29."],"access_subjects_ssim":["West Virginia Feminist Activist Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"access_subjects_ssm":["West Virginia Feminist Activist Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"has_online_content_ssim":["false"],"extent_ssm":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"extent_tesim":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e\n","\u003cp\u003eResearchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. "],"bioghist_html_tesm":["\u003cp\u003eMaryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  \u003c/p\u003e\n","\u003cp\u003eMaryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. \u003c/p\u003e\n","\u003cp\u003eShe graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.\u003c/p\u003e\n","\u003cp\u003eIn the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  \u003c/p\u003e\n","\u003cp\u003eInspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play, \u003ctitle\u003eDOPE!\u003c/title\u003e which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. \u003c/p\u003e\n","\u003cp\u003eIn 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   \u003c/p\u003e\n","\u003cp\u003eIn 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.\u003c/p\u003e\n","\u003cp\u003eShe founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. \u003c/p\u003e\n","\u003cp\u003eSoon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  \u003c/p\u003e\n","\u003cp\u003eIn 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  \u003c/p\u003e\n","\u003cp\u003eDuring this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including \u003ctitle\u003eJohn Henry\u003c/title\u003e and \u003ctitle\u003eOle Miz Dacey\u003c/title\u003e. Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  \u003c/p\u003e\n","\u003cp\u003eEcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with \u003ctitle\u003eDOPE!\u003c/title\u003e and SALT, used non-actors in its performances.  \u003c/p\u003e\n","\u003cp\u003eIn 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. \u003c/p\u003e\n","\u003cp\u003eMaryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026amp;M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. \u003c/p\u003e\n","\u003cp\u003eMaterials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. \u003c/p\u003e\n","\u003cp\u003eSeries 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. \u003c/p\u003e\n","\u003cp\u003eSeries 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. \u003c/p\u003e\n","\u003cp\u003eSeries 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.\u003c/p\u003e\n","\u003cp\u003eSeries 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.\u003c/p\u003e\n","\u003cp\u003eSeries 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. \u003c/p\u003e\n","\u003cp\u003eThis collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. \u003c/p\u003e\n","\u003cp\u003eSelect audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_41a071f25400b148208ada4216a47db7\"\u003eMaryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.\u003c/abstract\u003e"],"abstract_tesim":["Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_59b034a3f262570e93a472c5cb053744\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum"],"persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1537,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T23:14:58.776Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c176"}},{"id":"viblbv_repositories_2_resources_2392_c69","type":"Item","attributes":{"title":"325 Royal Street","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2392_c69#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2392_c69","ref_ssm":["viblbv_repositories_2_resources_2392_c69"],"id":"viblbv_repositories_2_resources_2392_c69","ead_ssi":"viblbv_repositories_2_resources_2392","_root_":"viblbv_repositories_2_resources_2392","_nest_parent_":"viblbv_repositories_2_resources_2392","parent_ssi":"viblbv_repositories_2_resources_2392","parent_ssim":["viblbv_repositories_2_resources_2392"],"parent_ids_ssim":["viblbv_repositories_2_resources_2392"],"parent_unittitles_ssm":["Betty L. Moss Architectural Collection"],"parent_unittitles_tesim":["Betty L. Moss Architectural Collection"],"text":["Betty L. Moss Architectural Collection","325 Royal Street","box 130"],"title_filing_ssi":"325 Royal Street","title_ssm":["325 Royal Street"],"title_tesim":["325 Royal Street"],"unitdate_inclusive_ssm":["1977-1991"],"normalized_date_ssm":["1977/1991"],"normalized_title_ssm":["325 Royal Street"],"component_level_isim":[1],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Betty L. Moss Architectural Collection"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":69,"parent_access_restrict_tesm":["The collection is open for research."],"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":[1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991],"containers_ssim":["box 130"],"_nest_path_":"/components#68","timestamp":"2026-04-30T23:38:26.552Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2392","ead_ssi":"viblbv_repositories_2_resources_2392","_root_":"viblbv_repositories_2_resources_2392","_nest_parent_":"viblbv_repositories_2_resources_2392","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2392.xml","title_filing_ssi":"Moss, Betty L., Architectural Collection","title_ssm":["Betty L. Moss Architectural Collection"],"title_tesim":["Betty L. Moss Architectural Collection"],"unitdate_ssm":["1950-2007"],"unitdate_inclusive_ssm":["1950-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2008.071"],"text":["Ms.2008.071","Betty L. Moss Architectural Collection","International Archive of Women in Architecture (IAWA)","Women -- History","The collection is open for research.","The collection is arranged by architectural project. Projects appear in chronological order from their beginning.","Betty Anne Lipper was born in 1921 in Houston, Texas, to Lawrence Lipper and Betty Silverman. Betty Lipper married Hartwig Moss II and had two children. Moss attended Newcomb College and Tulane University in New Orleans, Louisiana, as well as the University of Missouri School of Journalism in Colombia, Missouri, and received a bachelor's in journalism from Tulane in 1942. Moss later returned to Tulane in the 1950s and earned a bachelor's degree in Architecture in 1960. After over forty years, Moss was awarded a master's degree in architecture from Tulane in 2004. Starting her practice in her 40s, Moss continued to work for more than four decades and produced designs for many houses and small office buildings in New Orleans. An outspoken defender of building preservation and conservation, Moss ardently defended against the demolition of the Rivergate (an exhibition center) on Canal Street in New Orleans. The Rivergate was demolished; and, Moss and Abbye A. Gorin wrote a six-minute film about the structure. After Hurricane Katrina devastated New Orleans in 2005, Moss composed plans for rebuilding and safety guidelines for disaster prevention. Betty Moss died October 22, 2007.","The guide to the Betty L. Moss Architectural Collection 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 Betty L. Moss Architectural Collection commenced in May 2008 and was completed in December 2008.","See the  Abbye A. Gorin Architectural Collection, Ms1997-009 , which contains the video Gorin and Moss made together, also at Virginia Tech Special Collections and University Archives.","The Betty L. Moss Architectural Collection contains the drawings, business correspondence, and notes of Betty L. Moss, an architect from New Orleans, Louisiana, practicing largely in the second half of the twentieth century. Structures appearing in drawings include: houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence. The locations of most projects center around New Orleans, Louisiana; but, some structures were designed for Texas, Mississippi, New Jersey, Tennessee, and Idaho. These drawings include projects that were constructed, as well as others that may not have been built. Projects range from plans for the design of the Moss residence made in 1950 to proposals drafted after Hurricane Katrina's devastation of New Orleans in 2005. Architectural designs on illustration board, some tinted, date from Moss's study at Tulane University. Correspondence includes letters to and from clients, professionals, and tradesmen. Interoffice notes and pages from catalogs illustrating fixtures also appear.","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 Betty L. Moss Architectural Collection contains the architectural renderings,  business correspondence, and notes of Betty Moss, an architect from New Orleans, Louisiana. Types of structures included in drawings are houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence.","Special Collections and University Archives, Virginia Tech","Moss, Betty","The materials in the collection are in English."],"unitid_tesim":["Ms.2008.071"],"normalized_title_ssm":["Betty L. Moss Architectural Collection"],"collection_title_tesim":["Betty L. Moss Architectural Collection"],"collection_ssim":["Betty L. Moss Architectural Collection"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["Moss, Betty"],"creator_ssim":["Moss, Betty"],"creator_persname_ssim":["Moss, Betty"],"creators_ssim":["Moss, Betty"],"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 Betty L. Moss Architectural Collection was donated to Special Collections in 2008."],"access_subjects_ssim":["International Archive of Women in Architecture (IAWA)","Women -- History"],"access_subjects_ssm":["International Archive of Women in Architecture (IAWA)","Women -- History"],"has_online_content_ssim":["false"],"extent_ssm":["56.5 Cubic Feet 255 boxes, 6 oversize folders"],"extent_tesim":["56.5 Cubic Feet 255 boxes, 6 oversize folders"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by architectural project. Projects appear in chronological order from their beginning.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by architectural project. Projects appear in chronological order from their beginning."],"bioghist_html_tesm":["\u003cp\u003eBetty Anne Lipper was born in 1921 in Houston, Texas, to Lawrence Lipper and Betty Silverman. Betty Lipper married Hartwig Moss II and had two children. Moss attended Newcomb College and Tulane University in New Orleans, Louisiana, as well as the University of Missouri School of Journalism in Colombia, Missouri, and received a bachelor's in journalism from Tulane in 1942. Moss later returned to Tulane in the 1950s and earned a bachelor's degree in Architecture in 1960. After over forty years, Moss was awarded a master's degree in architecture from Tulane in 2004. Starting her practice in her 40s, Moss continued to work for more than four decades and produced designs for many houses and small office buildings in New Orleans. An outspoken defender of building preservation and conservation, Moss ardently defended against the demolition of the Rivergate (an exhibition center) on Canal Street in New Orleans. The Rivergate was demolished; and, Moss and Abbye A. Gorin wrote a six-minute film about the structure. After Hurricane Katrina devastated New Orleans in 2005, Moss composed plans for rebuilding and safety guidelines for disaster prevention. Betty Moss died October 22, 2007.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Betty Anne Lipper was born in 1921 in Houston, Texas, to Lawrence Lipper and Betty Silverman. Betty Lipper married Hartwig Moss II and had two children. Moss attended Newcomb College and Tulane University in New Orleans, Louisiana, as well as the University of Missouri School of Journalism in Colombia, Missouri, and received a bachelor's in journalism from Tulane in 1942. Moss later returned to Tulane in the 1950s and earned a bachelor's degree in Architecture in 1960. After over forty years, Moss was awarded a master's degree in architecture from Tulane in 2004. Starting her practice in her 40s, Moss continued to work for more than four decades and produced designs for many houses and small office buildings in New Orleans. An outspoken defender of building preservation and conservation, Moss ardently defended against the demolition of the Rivergate (an exhibition center) on Canal Street in New Orleans. The Rivergate was demolished; and, Moss and Abbye A. Gorin wrote a six-minute film about the structure. After Hurricane Katrina devastated New Orleans in 2005, Moss composed plans for rebuilding and safety guidelines for disaster prevention. Betty Moss died October 22, 2007."],"odd_html_tesm":["\u003cp\u003eThe guide to the Betty L. Moss Architectural Collection 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 Betty L. Moss Architectural Collection 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], Betty L. Moss Architectural Collection, Ms2008-071, 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], Betty L. Moss Architectural Collection, Ms2008-071, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Betty L. Moss Architectural Collection commenced in May 2008 and was completed in December 2008.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Betty L. Moss Architectural Collection commenced in May 2008 and was completed in December 2008."],"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/2043.oai_ead.xml\"\u003eAbbye A. Gorin Architectural Collection, Ms1997-009\u003c/a\u003e, which contains the video Gorin and Moss made together, also at Virginia Tech Special Collections and University Archives.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["See the  Abbye A. Gorin Architectural Collection, Ms1997-009 , which contains the video Gorin and Moss made together, also at Virginia Tech Special Collections and University Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe Betty L. Moss Architectural Collection contains the drawings, business correspondence, and notes of Betty L. Moss, an architect from New Orleans, Louisiana, practicing largely in the second half of the twentieth century. Structures appearing in drawings include: houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence. The locations of most projects center around New Orleans, Louisiana; but, some structures were designed for Texas, Mississippi, New Jersey, Tennessee, and Idaho. These drawings include projects that were constructed, as well as others that may not have been built. Projects range from plans for the design of the Moss residence made in 1950 to proposals drafted after Hurricane Katrina's devastation of New Orleans in 2005. Architectural designs on illustration board, some tinted, date from Moss's study at Tulane University. Correspondence includes letters to and from clients, professionals, and tradesmen. Interoffice notes and pages from catalogs illustrating fixtures also appear.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Betty L. Moss Architectural Collection contains the drawings, business correspondence, and notes of Betty L. Moss, an architect from New Orleans, Louisiana, practicing largely in the second half of the twentieth century. Structures appearing in drawings include: houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence. The locations of most projects center around New Orleans, Louisiana; but, some structures were designed for Texas, Mississippi, New Jersey, Tennessee, and Idaho. These drawings include projects that were constructed, as well as others that may not have been built. Projects range from plans for the design of the Moss residence made in 1950 to proposals drafted after Hurricane Katrina's devastation of New Orleans in 2005. Architectural designs on illustration board, some tinted, date from Moss's study at Tulane University. Correspondence includes letters to and from clients, professionals, and tradesmen. Interoffice notes and pages from catalogs illustrating fixtures also appear."],"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\n","\u003cp\u003eReproduction 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_7ba71cfa8fa83f56ed4d03610d9d5a5e\" label=\"Abstract\"\u003eThe Betty L. Moss Architectural Collection contains the architectural renderings,  business correspondence, and notes of Betty Moss, an architect from New Orleans, Louisiana. Types of structures included in drawings are houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence.\u003c/abstract\u003e"],"abstract_tesim":["The Betty L. Moss Architectural Collection contains the architectural renderings,  business correspondence, and notes of Betty Moss, an architect from New Orleans, Louisiana. Types of structures included in drawings are houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence."],"names_ssim":["Special Collections and University Archives, Virginia Tech","Moss, Betty"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"persname_ssim":["Moss, Betty"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":169,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T23:38:26.552Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2392_c69"}},{"id":"wvmturhc_repositories_2_resources_1610_c03_c108","type":"Item","attributes":{"title":"34 - Grace D. Lee at Black Mountain, North Carolina","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c108#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eVHS Tape\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c108#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_1610_c03_c108","ref_ssm":["wvmturhc_repositories_2_resources_1610_c03_c108"],"id":"wvmturhc_repositories_2_resources_1610_c03_c108","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610_c03","parent_ssi":"wvmturhc_repositories_2_resources_1610_c03","parent_ssim":["wvmturhc_repositories_2_resources_1610","wvmturhc_repositories_2_resources_1610_c03"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_1610","wvmturhc_repositories_2_resources_1610_c03"],"parent_unittitles_ssm":["Maryat Lee, Playwright, Papers","Series 3. Audiovisual Material"],"parent_unittitles_tesim":["Maryat Lee, Playwright, Papers","Series 3. Audiovisual Material"],"text":["Maryat Lee, Playwright, Papers","Series 3. Audiovisual Material","34 - Grace D. Lee at Black Mountain, North Carolina","Box 25","Item 1","VHS Tape"],"title_filing_ssi":"34 - Grace D. Lee at Black Mountain, North Carolina","title_ssm":["34 - Grace D. Lee at Black Mountain, North Carolina"],"title_tesim":["34 - Grace D. Lee at Black Mountain, North Carolina"],"unitdate_other_ssim":["1988 September"],"normalized_date_ssm":["1988"],"normalized_title_ssm":["34 - Grace D. Lee at Black Mountain, North Carolina"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Maryat Lee, Playwright, Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":226,"parent_access_restrict_tesm":["No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. "],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1988],"containers_ssim":["Box 25","Item 1"],"scopecontent_html_tesm":["\u003cp\u003eVHS Tape\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["VHS Tape"],"_nest_path_":"/components#2/components#107","timestamp":"2026-04-30T23:14:58.776Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_1610","ead_ssi":"wvmturhc_repositories_2_resources_1610","_root_":"wvmturhc_repositories_2_resources_1610","_nest_parent_":"wvmturhc_repositories_2_resources_1610","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_1610.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/195886","title_ssm":["Maryat Lee, Playwright, Papers"],"title_tesim":["Maryat Lee, Playwright, Papers"],"unitdate_ssm":["1902-1997","1951-1989"],"unitdate_bulk_ssim":["1951-1989"],"unitdate_inclusive_ssm":["1902-1997"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"text":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610","Maryat Lee, Playwright, Papers","Hinton (W. Va.)","New York (N.Y.)","West Virginia Feminist Activist Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization","No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. ","Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  ","This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert","English \n.    "],"unitid_tesim":["A\u0026M 3300","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","/repositories/2/resources/1610"],"normalized_title_ssm":["Maryat Lee, Playwright, Papers"],"collection_title_tesim":["Maryat Lee, Playwright, Papers"],"collection_ssim":["Maryat Lee, Playwright, Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"geogname_ssm":["Hinton (W. Va.)","New York (N.Y.)"],"geogname_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"creator_ssm":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"creator_persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"creator_corpname_ssim":["West Virginia University. Art Museum"],"creators_ssim":["Lee, Maryat, 1923-1989","Lee, Robert","West Virginia University. Art Museum"],"places_ssim":["Hinton (W. Va.)","New York (N.Y.)"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift from Lee, Robert, 1998 June 5. ","Gift from Lee, Robert, 1998 July 11.","Transfer from West Virginia University Art Museum, 2022 April 29."],"access_subjects_ssim":["West Virginia Feminist Activist Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"access_subjects_ssm":["West Virginia Feminist Activist Collection","Community theater","Community arts projects","Women authors, American   -- 20th century","Women in community organization"],"has_online_content_ssim":["false"],"extent_ssm":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"extent_tesim":["63.54 Linear Feet 63 ft. 6.5 in. (42 records cartons, 15 in. each); (9 document cases, 5 in. each); (3 document cases, 2.5 in.); (1 large flat storage box, 3.5 in.); (7 medium flat storage boxes, 3 in. each); (1 small flat storage box, 1.5 in.); (5 large item boxes, 5 in. each); (1 small item box, 3 in.); (1 large clamshell box, 5 in.); (9 paintings, 1.5 in. each); (1 framed item, 0.5 in.); (1 plaster bust, 7 in.)"],"date_range_isim":[1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e\n","\u003cp\u003eResearchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. \u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies.","Researchers may access digitized materials by visiting the link attached to each item or by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc. "],"bioghist_html_tesm":["\u003cp\u003eMaryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  \u003c/p\u003e\n","\u003cp\u003eMaryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. \u003c/p\u003e\n","\u003cp\u003eShe graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.\u003c/p\u003e\n","\u003cp\u003eIn the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  \u003c/p\u003e\n","\u003cp\u003eInspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play, \u003ctitle\u003eDOPE!\u003c/title\u003e which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. \u003c/p\u003e\n","\u003cp\u003eIn 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   \u003c/p\u003e\n","\u003cp\u003eIn 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.\u003c/p\u003e\n","\u003cp\u003eShe founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. \u003c/p\u003e\n","\u003cp\u003eSoon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  \u003c/p\u003e\n","\u003cp\u003eIn 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  \u003c/p\u003e\n","\u003cp\u003eDuring this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including \u003ctitle\u003eJohn Henry\u003c/title\u003e and \u003ctitle\u003eOle Miz Dacey\u003c/title\u003e. Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  \u003c/p\u003e\n","\u003cp\u003eEcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with \u003ctitle\u003eDOPE!\u003c/title\u003e and SALT, used non-actors in its performances.  \u003c/p\u003e\n","\u003cp\u003eIn 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. \u003c/p\u003e\n","\u003cp\u003eMaryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Maryat Lee was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project.  ","Maryat Lee was born as Mary Attaway Lee in Covington, Kentucky on May 26, 1923, to Grace Barbee Dyer Lee and Dewitt Collins Lee. Maryat, as she came to be known, grew up with her musician mother, lawyer and businessman father, and two older brothers, John and Robert. ","She graduated from Wellesley College in Wellesley, Massachusetts with a Bachelor of Arts degree in Bible History in 1945.","In the following years, Lee was employed in various jobs in New York City, including editing religious films, transcribing oral history tapes for Columbia University, and serving as an assistant to Margaret Mead at the Society for Applied Anthropology.  ","Inspired by a conversation with East Harlem storefront church ministers about declining local interest in religion and surging drug usage, Lee sought to become acquainted with the population of Harlem, a largely African American neighborhood in New York City. This led to the writing of her first play,  DOPE!  which began showings in storefront churches, on sidewalks, and in alleys in 1951, using the local people Lee had met in Harlem as actors. Interest in this street theater, as it would come to be known, faded quickly, but it set the foundation for much of Lee's later work. ","In 1957, she met and began a friendship with author Flannery O'Connor that would last until the latter's death in 1964. That same year, in 1957, she married Australian furniture designer David Foulkes Taylor in Japan. The couple parted ways soon after, and Taylor died in a car accident in Australia in 1965.   ","In 1966, Lee began a long business and romantic relationship with photographer Fran Belin, with whom she would go on to co-found the Women's Farm and EcoTheater.","She founded the East Harlem Soul and Latin Theater (SALT) in New York City in 1970, building upon her work with Harlem residents seventeen years prior. SALT used non-actors and encouraged audience reactions in opposition to what Lee viewed as the more stifling contemporary theater. ","Soon after, Lee parted ways with SALT after troupe members became discontented with the way she was handling copyright of the works produced, and the troupe dissolved two years later.  ","In 1971, Lee moved to Powley's Creek, West Virginia with Belin and founded the Women's Farm, as part of a wider Back-to-the-land movement that occurred in America in the 1960s and 1970s. The Women's Farm sought to provide a work retreat for artists and musicians and serve as the foundation for a new type of local theater.  ","During this time, Lee focused on learning about her local community in Hinton, West Virginia, and wrote plays inspired by what she heard, including  John Henry  and  Ole Miz Dacey . Both plays would be shown on Lee's farm and performed by youth from the Governor's Summer Youth Program, marking the beginning of EcoTheater in 1975.  ","EcoTheater, described by Lee as \"indigenous Appalachian theater\" produced plays based on oral histories collected from the local community, and as with  DOPE!  and SALT, used non-actors in its performances.  ","In 1984, Lee moved to Lewisburg, West Virginia, where she worked on her EcoTheater Workbook. From 1987 to 1989, Lee focused her energies on producing several theater workshops in West Virginia and Kentucky. ","Maryat Lee passed away at her home in Lewisburg, West Virginia on September 18, 1989, while working on her EcoTheater Workbook.  "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026amp;M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Maryat Lee, Playwright, Papers, A\u0026M 3300, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. \u003c/p\u003e\n","\u003cp\u003eMaterials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. \u003c/p\u003e\n","\u003cp\u003eThe collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. \u003c/p\u003e\n","\u003cp\u003eSeries 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. \u003c/p\u003e\n","\u003cp\u003eSeries 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. \u003c/p\u003e\n","\u003cp\u003eSeries 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.\u003c/p\u003e\n","\u003cp\u003eSeries 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. \u003c/p\u003e\n","\u003cp\u003eSeries 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.\u003c/p\u003e\n","\u003cp\u003eSeries 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. \u003c/p\u003e\n","\u003cp\u003eThis collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. \u003c/p\u003e\n","\u003cp\u003eSelect audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026amp; Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection mostly contains materials created and collected by Maryat Lee between 1951 and 1989 during her work on a wide variety of art and theatre projects, including Street and Latin Theater (SALT), the Women's Farm, and EcoTheater. Also present in the collection are materials created by Maryat Lee's parents, Grace Barbee Dyer Lee and Dewitt Collins Lee between 1910 and 1945. Materials present beyond Maryat Lee's death in 1989 consist of various EcoTheater and the Women's Farm administrative and promotional writings. ","Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt. ","The collection is divided into seven series based upon Maryat Lee's original folder labeling and the prevalence of certain subject matter. Due to the fact that Lee did not package the materials for donation herself, some boxes and folders within the series are physically out of order in relation to their intellectual arrangement. Addendum are also split between series. ","Series 1. Writings: This series contains writings by Maryat Lee outside of her workshops and various programs, such as notes and manuscripts. ","Series 2. Subjects: This series contains materials labeled as \"subjects\" by Maryat Lee. It includes correspondence and research materials mostly related to individuals involved in theater, writing, and publishing. ","Series 3. Audiovisual Material: This series contains reels, VHS, and cassette tapes created by Maryat Lee or one of her associates. The audiovisual material contains music, plays, family gatherings, workshops, board meetings, and presentations. Box 62 is an addendum of 2005/04/12.","Series 4. Theater Programs and Workshops: This series contains working papers from Maryat Lee's involvement in a wide variety of theater and theater-adjacent programs. Most prominent in this series are materials relating to Soul and Latin Theater (SOUL), the Women's Farm, EcoTheater, the Governor's Summer Youth Program (GSYP), theater workshops, and prison theater programs. Materials include grant applications, correspondence, newspaper articles, manuscripts, notes, proposals, press releases, newsletters, and photographs. Boxes 59-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 5. Personal: This series contains materials personal to Maryat Lee. It includes materials related to her family and friends outside of their associations with Maryat's various theater programs. Included are photographs, photo slides, negatives, correspondence, scrapbooks, journals, medical information, drawings, and planners. Boxes 58-61 are an addendum of 1998/07/22. Boxes 63-64 are an addendum of an unknown date. ","Series 6. Publications: This series contains published plays collected, but not written, by Maryat Lee.","Series 7. Paintings and Busts: This series contains nine paintings by Maryat Lee and a plaster bust of Maryat Lee. Paintings 7-8 are an addendum of 2022/04/29. ","This collection was reprocessed on 2024/11/07. A crosswalk between the original organization and the new organization is available upon request. ","Select audiovisual materials have been digitized. Researchers may access digitized materials by requesting to view the materials in person by appointment or remotely by contacting the West Virginia \u0026 Regional History Center reference department at https://westvirginia.libanswers.com/wvrhc."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"abstract_html_tesm":["\u003cabstract id=\"aspace_41a071f25400b148208ada4216a47db7\"\u003eMaryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt.\u003c/abstract\u003e"],"abstract_tesim":["Maryat Lee (1923-1989) was an American playwright and theater director who made important contributions to post-World War II avant-garde theater. She pioneered street theater in Harlem and later founded EcoTheater in West Virginia, a community-based theater project. Materials include reports, newsletters, correspondence, newspaper clippings, photographs, cassette tapes, VHS tapes, posters, manuscripts, notes, scripts, screenplays, published plays, genealogical research, journals, drawings, and paintings. Also present is a piece of stained glass created by Lee, a dress worn by Lee, and an EcoTheater T-Shirt."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_59b034a3f262570e93a472c5cb053744\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_coll_ssim":["West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum","Lee, Maryat, 1923-1989","Lee, Robert"],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. Art Museum"],"persname_ssim":["Lee, Maryat, 1923-1989","Lee, Robert"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":1537,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T23:14:58.776Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_1610_c03_c108"}},{"id":"viblbv_repositories_2_resources_2392_c15","type":"Item","attributes":{"title":"411; 411-415 Royal Street","abstract_or_scope":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2392_c15#abstract_or_scope","type":"document_value","attributes":{"value":"\u003cp\u003eSee also Box 255 Folder 7-8.\u003c/p\u003e","label":"Abstract Or Scope"}},"breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2392_c15#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"viblbv_repositories_2_resources_2392_c15","ref_ssm":["viblbv_repositories_2_resources_2392_c15"],"id":"viblbv_repositories_2_resources_2392_c15","ead_ssi":"viblbv_repositories_2_resources_2392","_root_":"viblbv_repositories_2_resources_2392","_nest_parent_":"viblbv_repositories_2_resources_2392","parent_ssi":"viblbv_repositories_2_resources_2392","parent_ssim":["viblbv_repositories_2_resources_2392"],"parent_ids_ssim":["viblbv_repositories_2_resources_2392"],"parent_unittitles_ssm":["Betty L. Moss Architectural Collection"],"parent_unittitles_tesim":["Betty L. Moss Architectural Collection"],"text":["Betty L. Moss Architectural Collection","411; 411-415 Royal Street","box 28-47","See also Box 255 Folder 7-8."],"title_filing_ssi":"411; 411-415 Royal Street","title_ssm":["411; 411-415 Royal Street"],"title_tesim":["411; 411-415 Royal Street"],"unitdate_inclusive_ssm":["1961-2001"],"normalized_date_ssm":["1961/2001"],"normalized_title_ssm":["411; 411-415 Royal Street"],"component_level_isim":[1],"repository_ssim":["Virginia Polytechnic Institute and State University"],"collection_ssim":["Betty L. Moss Architectural Collection"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":15,"parent_access_restrict_tesm":["The collection is open for research."],"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":[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],"containers_ssim":["box 28-47"],"scopecontent_html_tesm":["\u003cp\u003eSee also Box 255 Folder 7-8.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["See also Box 255 Folder 7-8."],"_nest_path_":"/components#14","timestamp":"2026-04-30T23:38:26.552Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"viblbv_repositories_2_resources_2392","ead_ssi":"viblbv_repositories_2_resources_2392","_root_":"viblbv_repositories_2_resources_2392","_nest_parent_":"viblbv_repositories_2_resources_2392","ead_source_url_ssi":"data/oai/VT/repositories_2_resources_2392.xml","title_filing_ssi":"Moss, Betty L., Architectural Collection","title_ssm":["Betty L. Moss Architectural Collection"],"title_tesim":["Betty L. Moss Architectural Collection"],"unitdate_ssm":["1950-2007"],"unitdate_inclusive_ssm":["1950-2007"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["Ms.2008.071"],"text":["Ms.2008.071","Betty L. Moss Architectural Collection","International Archive of Women in Architecture (IAWA)","Women -- History","The collection is open for research.","The collection is arranged by architectural project. Projects appear in chronological order from their beginning.","Betty Anne Lipper was born in 1921 in Houston, Texas, to Lawrence Lipper and Betty Silverman. Betty Lipper married Hartwig Moss II and had two children. Moss attended Newcomb College and Tulane University in New Orleans, Louisiana, as well as the University of Missouri School of Journalism in Colombia, Missouri, and received a bachelor's in journalism from Tulane in 1942. Moss later returned to Tulane in the 1950s and earned a bachelor's degree in Architecture in 1960. After over forty years, Moss was awarded a master's degree in architecture from Tulane in 2004. Starting her practice in her 40s, Moss continued to work for more than four decades and produced designs for many houses and small office buildings in New Orleans. An outspoken defender of building preservation and conservation, Moss ardently defended against the demolition of the Rivergate (an exhibition center) on Canal Street in New Orleans. The Rivergate was demolished; and, Moss and Abbye A. Gorin wrote a six-minute film about the structure. After Hurricane Katrina devastated New Orleans in 2005, Moss composed plans for rebuilding and safety guidelines for disaster prevention. Betty Moss died October 22, 2007.","The guide to the Betty L. Moss Architectural Collection 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 Betty L. Moss Architectural Collection commenced in May 2008 and was completed in December 2008.","See the  Abbye A. Gorin Architectural Collection, Ms1997-009 , which contains the video Gorin and Moss made together, also at Virginia Tech Special Collections and University Archives.","The Betty L. Moss Architectural Collection contains the drawings, business correspondence, and notes of Betty L. Moss, an architect from New Orleans, Louisiana, practicing largely in the second half of the twentieth century. Structures appearing in drawings include: houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence. The locations of most projects center around New Orleans, Louisiana; but, some structures were designed for Texas, Mississippi, New Jersey, Tennessee, and Idaho. These drawings include projects that were constructed, as well as others that may not have been built. Projects range from plans for the design of the Moss residence made in 1950 to proposals drafted after Hurricane Katrina's devastation of New Orleans in 2005. Architectural designs on illustration board, some tinted, date from Moss's study at Tulane University. Correspondence includes letters to and from clients, professionals, and tradesmen. Interoffice notes and pages from catalogs illustrating fixtures also appear.","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 Betty L. Moss Architectural Collection contains the architectural renderings,  business correspondence, and notes of Betty Moss, an architect from New Orleans, Louisiana. Types of structures included in drawings are houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence.","Special Collections and University Archives, Virginia Tech","Moss, Betty","The materials in the collection are in English."],"unitid_tesim":["Ms.2008.071"],"normalized_title_ssm":["Betty L. Moss Architectural Collection"],"collection_title_tesim":["Betty L. Moss Architectural Collection"],"collection_ssim":["Betty L. Moss Architectural Collection"],"repository_ssm":["Virginia Polytechnic Institute and State University"],"repository_ssim":["Virginia Polytechnic Institute and State University"],"creator_ssm":["Moss, Betty"],"creator_ssim":["Moss, Betty"],"creator_persname_ssim":["Moss, Betty"],"creators_ssim":["Moss, Betty"],"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 Betty L. Moss Architectural Collection was donated to Special Collections in 2008."],"access_subjects_ssim":["International Archive of Women in Architecture (IAWA)","Women -- History"],"access_subjects_ssm":["International Archive of Women in Architecture (IAWA)","Women -- History"],"has_online_content_ssim":["false"],"extent_ssm":["56.5 Cubic Feet 255 boxes, 6 oversize folders"],"extent_tesim":["56.5 Cubic Feet 255 boxes, 6 oversize folders"],"date_range_isim":[1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007],"accessrestrict_html_tesm":["\u003cp\u003eThe collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["The collection is open for research."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged by architectural project. Projects appear in chronological order from their beginning.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement"],"arrangement_tesim":["The collection is arranged by architectural project. Projects appear in chronological order from their beginning."],"bioghist_html_tesm":["\u003cp\u003eBetty Anne Lipper was born in 1921 in Houston, Texas, to Lawrence Lipper and Betty Silverman. Betty Lipper married Hartwig Moss II and had two children. Moss attended Newcomb College and Tulane University in New Orleans, Louisiana, as well as the University of Missouri School of Journalism in Colombia, Missouri, and received a bachelor's in journalism from Tulane in 1942. Moss later returned to Tulane in the 1950s and earned a bachelor's degree in Architecture in 1960. After over forty years, Moss was awarded a master's degree in architecture from Tulane in 2004. Starting her practice in her 40s, Moss continued to work for more than four decades and produced designs for many houses and small office buildings in New Orleans. An outspoken defender of building preservation and conservation, Moss ardently defended against the demolition of the Rivergate (an exhibition center) on Canal Street in New Orleans. The Rivergate was demolished; and, Moss and Abbye A. Gorin wrote a six-minute film about the structure. After Hurricane Katrina devastated New Orleans in 2005, Moss composed plans for rebuilding and safety guidelines for disaster prevention. Betty Moss died October 22, 2007.\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical Note"],"bioghist_tesim":["Betty Anne Lipper was born in 1921 in Houston, Texas, to Lawrence Lipper and Betty Silverman. Betty Lipper married Hartwig Moss II and had two children. Moss attended Newcomb College and Tulane University in New Orleans, Louisiana, as well as the University of Missouri School of Journalism in Colombia, Missouri, and received a bachelor's in journalism from Tulane in 1942. Moss later returned to Tulane in the 1950s and earned a bachelor's degree in Architecture in 1960. After over forty years, Moss was awarded a master's degree in architecture from Tulane in 2004. Starting her practice in her 40s, Moss continued to work for more than four decades and produced designs for many houses and small office buildings in New Orleans. An outspoken defender of building preservation and conservation, Moss ardently defended against the demolition of the Rivergate (an exhibition center) on Canal Street in New Orleans. The Rivergate was demolished; and, Moss and Abbye A. Gorin wrote a six-minute film about the structure. After Hurricane Katrina devastated New Orleans in 2005, Moss composed plans for rebuilding and safety guidelines for disaster prevention. Betty Moss died October 22, 2007."],"odd_html_tesm":["\u003cp\u003eThe guide to the Betty L. Moss Architectural Collection 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 Betty L. Moss Architectural Collection 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], Betty L. Moss Architectural Collection, Ms2008-071, 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], Betty L. Moss Architectural Collection, Ms2008-071, Special Collections and University Archives, Virginia Tech, Blacksburg, Va."],"processinfo_html_tesm":["\u003cp\u003eThe processing, arrangement, and description of the Betty L. Moss Architectural Collection commenced in May 2008 and was completed in December 2008.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The processing, arrangement, and description of the Betty L. Moss Architectural Collection commenced in May 2008 and was completed in December 2008."],"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/2043.oai_ead.xml\"\u003eAbbye A. Gorin Architectural Collection, Ms1997-009\u003c/a\u003e, which contains the video Gorin and Moss made together, also at Virginia Tech Special Collections and University Archives.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Archival Material"],"relatedmaterial_tesim":["See the  Abbye A. Gorin Architectural Collection, Ms1997-009 , which contains the video Gorin and Moss made together, also at Virginia Tech Special Collections and University Archives."],"scopecontent_html_tesm":["\u003cp\u003eThe Betty L. Moss Architectural Collection contains the drawings, business correspondence, and notes of Betty L. Moss, an architect from New Orleans, Louisiana, practicing largely in the second half of the twentieth century. Structures appearing in drawings include: houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence. The locations of most projects center around New Orleans, Louisiana; but, some structures were designed for Texas, Mississippi, New Jersey, Tennessee, and Idaho. These drawings include projects that were constructed, as well as others that may not have been built. Projects range from plans for the design of the Moss residence made in 1950 to proposals drafted after Hurricane Katrina's devastation of New Orleans in 2005. Architectural designs on illustration board, some tinted, date from Moss's study at Tulane University. Correspondence includes letters to and from clients, professionals, and tradesmen. Interoffice notes and pages from catalogs illustrating fixtures also appear.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content"],"scopecontent_tesim":["The Betty L. Moss Architectural Collection contains the drawings, business correspondence, and notes of Betty L. Moss, an architect from New Orleans, Louisiana, practicing largely in the second half of the twentieth century. Structures appearing in drawings include: houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence. The locations of most projects center around New Orleans, Louisiana; but, some structures were designed for Texas, Mississippi, New Jersey, Tennessee, and Idaho. These drawings include projects that were constructed, as well as others that may not have been built. Projects range from plans for the design of the Moss residence made in 1950 to proposals drafted after Hurricane Katrina's devastation of New Orleans in 2005. Architectural designs on illustration board, some tinted, date from Moss's study at Tulane University. Correspondence includes letters to and from clients, professionals, and tradesmen. Interoffice notes and pages from catalogs illustrating fixtures also appear."],"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\n","\u003cp\u003eReproduction 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_7ba71cfa8fa83f56ed4d03610d9d5a5e\" label=\"Abstract\"\u003eThe Betty L. Moss Architectural Collection contains the architectural renderings,  business correspondence, and notes of Betty Moss, an architect from New Orleans, Louisiana. Types of structures included in drawings are houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence.\u003c/abstract\u003e"],"abstract_tesim":["The Betty L. Moss Architectural Collection contains the architectural renderings,  business correspondence, and notes of Betty Moss, an architect from New Orleans, Louisiana. Types of structures included in drawings are houses, apartment buildings, condominiums, religious centers, businesses, antique shops, offices, hospitals, and centers for convalescence."],"names_ssim":["Special Collections and University Archives, Virginia Tech","Moss, Betty"],"corpname_ssim":["Special Collections and University Archives, Virginia Tech"],"persname_ssim":["Moss, Betty"],"language_ssim":["The materials in the collection are in English."],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":169,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T23:38:26.552Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/viblbv_repositories_2_resources_2392_c15"}},{"id":"vino_repositories_5_resources_66_c02_c02_c02_c01","type":"Item","attributes":{"title":"43-VSO","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vino_repositories_5_resources_66_c02_c02_c02_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vino_repositories_5_resources_66_c02_c02_c02_c01","ref_ssm":["vino_repositories_5_resources_66_c02_c02_c02_c01"],"id":"vino_repositories_5_resources_66_c02_c02_c02_c01","ead_ssi":"vino_repositories_5_resources_66","_root_":"vino_repositories_5_resources_66","_nest_parent_":"vino_repositories_5_resources_66_c02_c02_c02","parent_ssi":"vino_repositories_5_resources_66_c02_c02_c02","parent_ssim":["vino_repositories_5_resources_66","vino_repositories_5_resources_66_c02","vino_repositories_5_resources_66_c02_c02","vino_repositories_5_resources_66_c02_c02_c02"],"parent_ids_ssim":["vino_repositories_5_resources_66","vino_repositories_5_resources_66_c02","vino_repositories_5_resources_66_c02_c02","vino_repositories_5_resources_66_c02_c02_c02"],"parent_unittitles_ssm":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94"],"parent_unittitles_tesim":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94"],"text":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94","43-VSO","box 94"],"title_filing_ssi":"43-VSO","title_ssm":["43-VSO"],"title_tesim":["43-VSO"],"unitdate_other_ssim":["1988 September 23"],"normalized_date_ssm":["1988"],"normalized_title_ssm":["43-VSO"],"component_level_isim":[4],"repository_ssim":["Old Dominion University"],"collection_ssim":["Virginia Symphony Orchestra Records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1717,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"date_range_isim":[1988],"containers_ssim":["box 94"],"prefercite_html_tesm":["\u003cp\u003e43-VSO, 1988 September 23, Box 94, Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["43-VSO, 1988 September 23, Box 94, Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries."],"_nest_path_":"/components#1/components#1/components#1/components#0","timestamp":"2026-04-30T21:40:26.566Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vino_repositories_5_resources_66","ead_ssi":"vino_repositories_5_resources_66","_root_":"vino_repositories_5_resources_66","_nest_parent_":"vino_repositories_5_resources_66","ead_source_url_ssi":"data/oai/ODU/repositories_5_resources_66.xml","aspace_url_ssi":"Archon Finding Aid location","title_filing_ssi":"Virginia Symphony Orchestra","title_ssm":["Virginia Symphony Orchestra Records"],"title_tesim":["Virginia Symphony Orchestra Records"],"unitdate_ssm":["1921-2020, undated","Date acquired: 04/02/2004"],"unitdate_inclusive_ssm":["1921-2020, undated"],"unitdate_other_ssim":["Date acquired: 04/02/2004"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MG 81-A"],"text":["MG 81-A","Virginia Symphony Orchestra Records","Arts--Virginia","Orchestral musicians--Virginia","Orchestral music--Virginia","programs (documents)","letters (correspondence)","minutes (administrative records)","Open to researchers without restrictions.","Future accruals expected.","The collection is organized into three series: Series I: Organizational Records; Series II: Multimedia; and Series III: Oversize.","The Norfolk Civic Symphony Orchestra, the historical antecedent of the Virginia Symphony, played its inaugural concert on April 21, 1921 under the direction of Walter Edward Howe, the orchestra's first conductor. At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,  Lobgesang.  ","In the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.","At the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.","Russell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.","In the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.","A major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.","Note written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005","The collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018.","Virginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). ","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections.","This collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections.","Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.","Consists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs.","ODU Community Collections","Virginia Symphony","English \n.    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At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,\u003cemph render=\"italic\"\u003e Lobgesang.  \u003c/emph\u003e\u003c/p\u003e\n","\u003cp\u003eIn the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.\u003c/p\u003e\n","\u003cp\u003eAt the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.\u003c/p\u003e\n","\u003cp\u003eRussell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.\u003c/p\u003e\n","\u003cp\u003eIn the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.\u003c/p\u003e\n","\u003cp\u003eA major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.\u003c/p\u003e\n","\u003cp\u003eNote written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Norfolk Civic Symphony Orchestra, the historical antecedent of the Virginia Symphony, played its inaugural concert on April 21, 1921 under the direction of Walter Edward Howe, the orchestra's first conductor. At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,  Lobgesang.  ","In the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.","At the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.","Russell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.","In the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.","A major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.","Note written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005"],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Box [insert number], Folder [insert number and title], Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Box [insert number], Folder [insert number and title], Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eVirginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). \u003c/p\u003e\n","\u003cp\u003eOral history interviews with key musicians and local supporters of the \u003cextref href=\"http://dc.lib.odu.edu/cdm/landingpage/collection/vsooh\"\u003eVirginia Symphony Orchestra\u003c/extref\u003e have been digitized and are available in the Old Dominion University Digital Collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Virginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). ","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.\u003c/p\u003e\n","\u003cp\u003eOral history interviews with key musicians and local supporters of the \u003cextref href=\"http://dc.lib.odu.edu/cdm/landingpage/collection/vsooh\"\u003eVirginia Symphony Orchestra\u003c/extref\u003e have been digitized and are available in the Old Dominion University Digital Collections.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f76ee0c0400ad3177948b4d0cb76c33a\"\u003eConsists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs.\u003c/abstract\u003e"],"abstract_tesim":["Consists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs."],"names_coll_ssim":["Virginia Symphony"],"names_ssim":["ODU Community Collections","Virginia Symphony"],"corpname_ssim":["ODU Community Collections","Virginia Symphony"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2204,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T21:40:26.566Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vino_repositories_5_resources_66_c02_c02_c02_c01"}},{"id":"vino_repositories_5_resources_66_c02_c02_c02_c02","type":"Item","attributes":{"title":"44-VSO","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vino_repositories_5_resources_66_c02_c02_c02_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vino_repositories_5_resources_66_c02_c02_c02_c02","ref_ssm":["vino_repositories_5_resources_66_c02_c02_c02_c02"],"id":"vino_repositories_5_resources_66_c02_c02_c02_c02","ead_ssi":"vino_repositories_5_resources_66","_root_":"vino_repositories_5_resources_66","_nest_parent_":"vino_repositories_5_resources_66_c02_c02_c02","parent_ssi":"vino_repositories_5_resources_66_c02_c02_c02","parent_ssim":["vino_repositories_5_resources_66","vino_repositories_5_resources_66_c02","vino_repositories_5_resources_66_c02_c02","vino_repositories_5_resources_66_c02_c02_c02"],"parent_ids_ssim":["vino_repositories_5_resources_66","vino_repositories_5_resources_66_c02","vino_repositories_5_resources_66_c02_c02","vino_repositories_5_resources_66_c02_c02_c02"],"parent_unittitles_ssm":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94"],"parent_unittitles_tesim":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94"],"text":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94","44-VSO","box 94"],"title_filing_ssi":"44-VSO","title_ssm":["44-VSO"],"title_tesim":["44-VSO"],"unitdate_other_ssim":["1988 November 4"],"normalized_date_ssm":["1988"],"normalized_title_ssm":["44-VSO"],"component_level_isim":[4],"repository_ssim":["Old Dominion University"],"collection_ssim":["Virginia Symphony Orchestra Records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1718,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"date_range_isim":[1988],"containers_ssim":["box 94"],"prefercite_html_tesm":["\u003cp\u003e44-VSO, 1988 November 4, Box 94, Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["44-VSO, 1988 November 4, Box 94, Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries."],"_nest_path_":"/components#1/components#1/components#1/components#1","timestamp":"2026-04-30T21:40:26.566Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vino_repositories_5_resources_66","ead_ssi":"vino_repositories_5_resources_66","_root_":"vino_repositories_5_resources_66","_nest_parent_":"vino_repositories_5_resources_66","ead_source_url_ssi":"data/oai/ODU/repositories_5_resources_66.xml","aspace_url_ssi":"Archon Finding Aid location","title_filing_ssi":"Virginia Symphony Orchestra","title_ssm":["Virginia Symphony Orchestra Records"],"title_tesim":["Virginia Symphony Orchestra Records"],"unitdate_ssm":["1921-2020, undated","Date acquired: 04/02/2004"],"unitdate_inclusive_ssm":["1921-2020, undated"],"unitdate_other_ssim":["Date acquired: 04/02/2004"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MG 81-A"],"text":["MG 81-A","Virginia Symphony Orchestra Records","Arts--Virginia","Orchestral musicians--Virginia","Orchestral music--Virginia","programs (documents)","letters (correspondence)","minutes (administrative records)","Open to researchers without restrictions.","Future accruals expected.","The collection is organized into three series: Series I: Organizational Records; Series II: Multimedia; and Series III: Oversize.","The Norfolk Civic Symphony Orchestra, the historical antecedent of the Virginia Symphony, played its inaugural concert on April 21, 1921 under the direction of Walter Edward Howe, the orchestra's first conductor. At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,  Lobgesang.  ","In the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.","At the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.","Russell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.","In the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.","A major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.","Note written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005","The collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018.","Virginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). ","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections.","This collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections.","Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.","Consists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs.","ODU Community Collections","Virginia Symphony","English \n.    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At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,\u003cemph render=\"italic\"\u003e Lobgesang.  \u003c/emph\u003e\u003c/p\u003e\n","\u003cp\u003eIn the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.\u003c/p\u003e\n","\u003cp\u003eAt the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.\u003c/p\u003e\n","\u003cp\u003eRussell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.\u003c/p\u003e\n","\u003cp\u003eIn the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.\u003c/p\u003e\n","\u003cp\u003eA major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.\u003c/p\u003e\n","\u003cp\u003eNote written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Norfolk Civic Symphony Orchestra, the historical antecedent of the Virginia Symphony, played its inaugural concert on April 21, 1921 under the direction of Walter Edward Howe, the orchestra's first conductor. At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,  Lobgesang.  ","In the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.","At the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.","Russell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.","In the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.","A major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.","Note written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005"],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Box [insert number], Folder [insert number and title], Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Box [insert number], Folder [insert number and title], Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eVirginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). \u003c/p\u003e\n","\u003cp\u003eOral history interviews with key musicians and local supporters of the \u003cextref href=\"http://dc.lib.odu.edu/cdm/landingpage/collection/vsooh\"\u003eVirginia Symphony Orchestra\u003c/extref\u003e have been digitized and are available in the Old Dominion University Digital Collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Virginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). ","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.\u003c/p\u003e\n","\u003cp\u003eOral history interviews with key musicians and local supporters of the \u003cextref href=\"http://dc.lib.odu.edu/cdm/landingpage/collection/vsooh\"\u003eVirginia Symphony Orchestra\u003c/extref\u003e have been digitized and are available in the Old Dominion University Digital Collections.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f76ee0c0400ad3177948b4d0cb76c33a\"\u003eConsists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs.\u003c/abstract\u003e"],"abstract_tesim":["Consists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs."],"names_coll_ssim":["Virginia Symphony"],"names_ssim":["ODU Community Collections","Virginia Symphony"],"corpname_ssim":["ODU Community Collections","Virginia Symphony"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2204,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T21:40:26.566Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vino_repositories_5_resources_66_c02_c02_c02_c02"}},{"id":"vino_repositories_5_resources_66_c02_c02_c02_c03","type":"Item","attributes":{"title":"45-VSO","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vino_repositories_5_resources_66_c02_c02_c02_c03#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vino_repositories_5_resources_66_c02_c02_c02_c03","ref_ssm":["vino_repositories_5_resources_66_c02_c02_c02_c03"],"id":"vino_repositories_5_resources_66_c02_c02_c02_c03","ead_ssi":"vino_repositories_5_resources_66","_root_":"vino_repositories_5_resources_66","_nest_parent_":"vino_repositories_5_resources_66_c02_c02_c02","parent_ssi":"vino_repositories_5_resources_66_c02_c02_c02","parent_ssim":["vino_repositories_5_resources_66","vino_repositories_5_resources_66_c02","vino_repositories_5_resources_66_c02_c02","vino_repositories_5_resources_66_c02_c02_c02"],"parent_ids_ssim":["vino_repositories_5_resources_66","vino_repositories_5_resources_66_c02","vino_repositories_5_resources_66_c02_c02","vino_repositories_5_resources_66_c02_c02_c02"],"parent_unittitles_ssm":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94"],"parent_unittitles_tesim":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94"],"text":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94","45-VSO","box 94"],"title_filing_ssi":"45-VSO","title_ssm":["45-VSO"],"title_tesim":["45-VSO"],"unitdate_other_ssim":["1988 November 11"],"normalized_date_ssm":["1988"],"normalized_title_ssm":["45-VSO"],"component_level_isim":[4],"repository_ssim":["Old Dominion University"],"collection_ssim":["Virginia Symphony Orchestra Records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1719,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"date_range_isim":[1988],"containers_ssim":["box 94"],"prefercite_html_tesm":["\u003cp\u003e45-VSO, 1988 November 11, Box 94, Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["45-VSO, 1988 November 11, Box 94, Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries."],"_nest_path_":"/components#1/components#1/components#1/components#2","timestamp":"2026-04-30T21:40:26.566Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vino_repositories_5_resources_66","ead_ssi":"vino_repositories_5_resources_66","_root_":"vino_repositories_5_resources_66","_nest_parent_":"vino_repositories_5_resources_66","ead_source_url_ssi":"data/oai/ODU/repositories_5_resources_66.xml","aspace_url_ssi":"Archon Finding Aid location","title_filing_ssi":"Virginia Symphony Orchestra","title_ssm":["Virginia Symphony Orchestra Records"],"title_tesim":["Virginia Symphony Orchestra Records"],"unitdate_ssm":["1921-2020, undated","Date acquired: 04/02/2004"],"unitdate_inclusive_ssm":["1921-2020, undated"],"unitdate_other_ssim":["Date acquired: 04/02/2004"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MG 81-A"],"text":["MG 81-A","Virginia Symphony Orchestra Records","Arts--Virginia","Orchestral musicians--Virginia","Orchestral music--Virginia","programs (documents)","letters (correspondence)","minutes (administrative records)","Open to researchers without restrictions.","Future accruals expected.","The collection is organized into three series: Series I: Organizational Records; Series II: Multimedia; and Series III: Oversize.","The Norfolk Civic Symphony Orchestra, the historical antecedent of the Virginia Symphony, played its inaugural concert on April 21, 1921 under the direction of Walter Edward Howe, the orchestra's first conductor. At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,  Lobgesang.  ","In the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.","At the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.","Russell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.","In the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.","A major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.","Note written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005","The collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018.","Virginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). ","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections.","This collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections.","Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.","Consists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs.","ODU Community Collections","Virginia Symphony","English \n.    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At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,\u003cemph render=\"italic\"\u003e Lobgesang.  \u003c/emph\u003e\u003c/p\u003e\n","\u003cp\u003eIn the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.\u003c/p\u003e\n","\u003cp\u003eAt the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.\u003c/p\u003e\n","\u003cp\u003eRussell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.\u003c/p\u003e\n","\u003cp\u003eIn the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.\u003c/p\u003e\n","\u003cp\u003eA major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.\u003c/p\u003e\n","\u003cp\u003eNote written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Norfolk Civic Symphony Orchestra, the historical antecedent of the Virginia Symphony, played its inaugural concert on April 21, 1921 under the direction of Walter Edward Howe, the orchestra's first conductor. At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,  Lobgesang.  ","In the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.","At the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.","Russell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.","In the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.","A major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.","Note written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005"],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Box [insert number], Folder [insert number and title], Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Box [insert number], Folder [insert number and title], Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eVirginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). \u003c/p\u003e\n","\u003cp\u003eOral history interviews with key musicians and local supporters of the \u003cextref href=\"http://dc.lib.odu.edu/cdm/landingpage/collection/vsooh\"\u003eVirginia Symphony Orchestra\u003c/extref\u003e have been digitized and are available in the Old Dominion University Digital Collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Virginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). ","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.\u003c/p\u003e\n","\u003cp\u003eOral history interviews with key musicians and local supporters of the \u003cextref href=\"http://dc.lib.odu.edu/cdm/landingpage/collection/vsooh\"\u003eVirginia Symphony Orchestra\u003c/extref\u003e have been digitized and are available in the Old Dominion University Digital Collections.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f76ee0c0400ad3177948b4d0cb76c33a\"\u003eConsists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs.\u003c/abstract\u003e"],"abstract_tesim":["Consists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs."],"names_coll_ssim":["Virginia Symphony"],"names_ssim":["ODU Community Collections","Virginia Symphony"],"corpname_ssim":["ODU Community Collections","Virginia Symphony"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":2204,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-04-30T21:40:26.566Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/vino_repositories_5_resources_66_c02_c02_c02_c03"}},{"id":"vino_repositories_5_resources_66_c02_c02_c02_c04","type":"Item","attributes":{"title":"46-VSO","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vino_repositories_5_resources_66_c02_c02_c02_c04#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vino_repositories_5_resources_66_c02_c02_c02_c04","ref_ssm":["vino_repositories_5_resources_66_c02_c02_c02_c04"],"id":"vino_repositories_5_resources_66_c02_c02_c02_c04","ead_ssi":"vino_repositories_5_resources_66","_root_":"vino_repositories_5_resources_66","_nest_parent_":"vino_repositories_5_resources_66_c02_c02_c02","parent_ssi":"vino_repositories_5_resources_66_c02_c02_c02","parent_ssim":["vino_repositories_5_resources_66","vino_repositories_5_resources_66_c02","vino_repositories_5_resources_66_c02_c02","vino_repositories_5_resources_66_c02_c02_c02"],"parent_ids_ssim":["vino_repositories_5_resources_66","vino_repositories_5_resources_66_c02","vino_repositories_5_resources_66_c02_c02","vino_repositories_5_resources_66_c02_c02_c02"],"parent_unittitles_ssm":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94"],"parent_unittitles_tesim":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94"],"text":["Virginia Symphony Orchestra Records","Series II: Multimedia","Sub-Series B: Betamax Tapes","Box 94","46-VSO","box 94"],"title_filing_ssi":"46-VSO","title_ssm":["46-VSO"],"title_tesim":["46-VSO"],"unitdate_other_ssim":["1988 November 12"],"normalized_date_ssm":["1988"],"normalized_title_ssm":["46-VSO"],"component_level_isim":[4],"repository_ssim":["Old Dominion University"],"collection_ssim":["Virginia Symphony Orchestra Records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["Item"],"level_ssim":["Item"],"sort_isi":1720,"parent_access_restrict_tesm":["Open to researchers without restrictions."],"parent_access_terms_tesm":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"date_range_isim":[1988],"containers_ssim":["box 94"],"prefercite_html_tesm":["\u003cp\u003e46-VSO, 1988 November 12, Box 94, Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_heading_ssm":["Preferred Citation"],"prefercite_tesim":["46-VSO, 1988 November 12, Box 94, Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries."],"_nest_path_":"/components#1/components#1/components#1/components#3","timestamp":"2026-04-30T21:40:26.566Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vino_repositories_5_resources_66","ead_ssi":"vino_repositories_5_resources_66","_root_":"vino_repositories_5_resources_66","_nest_parent_":"vino_repositories_5_resources_66","ead_source_url_ssi":"data/oai/ODU/repositories_5_resources_66.xml","aspace_url_ssi":"Archon Finding Aid location","title_filing_ssi":"Virginia Symphony Orchestra","title_ssm":["Virginia Symphony Orchestra Records"],"title_tesim":["Virginia Symphony Orchestra Records"],"unitdate_ssm":["1921-2020, undated","Date acquired: 04/02/2004"],"unitdate_inclusive_ssm":["1921-2020, undated"],"unitdate_other_ssim":["Date acquired: 04/02/2004"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["MG 81-A"],"text":["MG 81-A","Virginia Symphony Orchestra Records","Arts--Virginia","Orchestral musicians--Virginia","Orchestral music--Virginia","programs (documents)","letters (correspondence)","minutes (administrative records)","Open to researchers without restrictions.","Future accruals expected.","The collection is organized into three series: Series I: Organizational Records; Series II: Multimedia; and Series III: Oversize.","The Norfolk Civic Symphony Orchestra, the historical antecedent of the Virginia Symphony, played its inaugural concert on April 21, 1921 under the direction of Walter Edward Howe, the orchestra's first conductor. At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,  Lobgesang.  ","In the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.","At the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.","Russell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.","In the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.","A major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.","Note written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005","The collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018.","Virginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). ","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections.","This collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections.","Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.","Consists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs.","ODU Community Collections","Virginia Symphony","English \n.    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At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,\u003cemph render=\"italic\"\u003e Lobgesang.  \u003c/emph\u003e\u003c/p\u003e\n","\u003cp\u003eIn the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.\u003c/p\u003e\n","\u003cp\u003eAt the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.\u003c/p\u003e\n","\u003cp\u003eRussell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.\u003c/p\u003e\n","\u003cp\u003eIn the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.\u003c/p\u003e\n","\u003cp\u003eA major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.\u003c/p\u003e\n","\u003cp\u003eNote written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical or Historical Information"],"bioghist_tesim":["The Norfolk Civic Symphony Orchestra, the historical antecedent of the Virginia Symphony, played its inaugural concert on April 21, 1921 under the direction of Walter Edward Howe, the orchestra's first conductor. At that time, the Norfolk Civic Symphony Orchestra was the only symphony between Baltimore and Atlanta. The original ensemble of about 40 volunteer members grew so rapidly that balanced instrumentation was achieved during the 1921-22 season. By 1926 the ensemble had played under the direction of five conductors: W. Henry Baker, Bart Wirtz, Arthur Fickenscher, and Frank L. Delpino, in addition to the first conductor, Walter Edward Howe.  Among the milestones of this early period were the formation of The Norfolk Orchestral Association, Inc. and performance of the first choral work, the Mendelssohn Symphony No. 2,  Lobgesang.  ","In the pre-World War II period, many \"Firsts\" took place with the orchestra.  An admission charge was first instituted in 1929; until then an offering had been taken at the door to finance the symphony's operation. A Women's Committee was appointed, and in 1935 it conducted the first organized membership campaign for season subscriptions.  With the 1934 arrival of Henry Cowles Whitehead to conduct the symphony, concertos began to be performed regularly.  The first Young People's Concert was presented to 1,500 school children in 1936, initiating a tradition which continued until interrupted by World War II.","At the time of Edgar Schenkman's arrival to direct the symphony in 1948, the orchestra had grown into a semi-professional group poised to perform at a higher professional level.  Because he was hired to direct the Civic Chorus as well as the orchestra, the organizations merged to become the Norfolk Symphony and Choral Association in 1949, and regular performances of choral works were programmed.  In the Schenkman era (1948-1966), the women's group officially became the Women's Auxiliary; a Youth Orchestra was founded; a Community Music School was established; and a trust to benefit the symphony was established in the Norfolk Foundation.","Russell Stanger became the music director in 1966 and held the position until 1980.  He appointed the first African-American orchestra member in 1966 and organized a new choral group, the Tidewater Choral Association in 1967.  Chrysler Hall was opened in 1972, and the symphony began performing in the new hall. The symphony was not a fulltime professional orchestra at this time, and in 1972, the Norfolk Musicians Union staged a month-long strike, which was settled for base pay of $1,000 for 60 concerts and rehearsals annually.  During this period, the difficulty of recruiting and retaining professional musicians was first acknowledged, attributed to the fact that the positions did not offer fulltime employment.","In the 1970s and 80s, a series of mergers took place or came under investigation.  Merger with the Peninsula Symphony was investigated in 1972 and took place finally in 1979.  The symphony and the Virginia Opera investigated a joint contract with musicians in 1976.  The current organization, officially named the Virginia Orchestra Group, was formed in 1979 from a merger of the Virginia Philharmonic (previously named the Norfolk Symphony), the Peninsula Symphony, and the Virginia Beach Pops.  Later, in 1989, a study was done to assess the viability of merging the Norfolk and Richmond symphonies.","A major advance was made in 1985 when many of the musicians were offered a three-year contract placing them on salary for the first time.  This was a central element in the board's process to upgrade the orchestra.  After short directing tenures of Richard Williams (1980-1986) and Winston Dan Vogel (1986-1990), JoAnn Falletta was appointed conductor and music director of the Virginia Symphony in 1991.  Since then the orchestra has released several recordings and has performed both in Carnegie Hall and the Kennedy Center.  It is recognized now as one of the nation's leading regional symphony orchestras.","Note written by Dr. Jean Major, University Librarian Emeritus and Virginia Symphony League Archivist, November 2005"],"prefercite_html_tesm":["\u003cp\u003e[Identification of item], Box [insert number], Folder [insert number and title], Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries.\u003c/p\u003e"],"prefercite_tesim":["[Identification of item], Box [insert number], Folder [insert number and title], Virginia Symphony Orchestra Records, Special Collections and University Archives, Old Dominion University Libraries."],"processinfo_html_tesm":["\u003cp\u003eThe collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The collection was reprocessed by Mel Frizzell, Special Collections and University Archives Assistant, from June 2017 to January 2018."],"relatedmaterial_html_tesm":["\u003cp\u003eVirginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). \u003c/p\u003e\n","\u003cp\u003eOral history interviews with key musicians and local supporters of the \u003cextref href=\"http://dc.lib.odu.edu/cdm/landingpage/collection/vsooh\"\u003eVirginia Symphony Orchestra\u003c/extref\u003e have been digitized and are available in the Old Dominion University Digital Collections.\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["Virginia Symphony Foundation Records (MG 81-B); Virginia Symphony League Records (MG 81-C); Virginia Symphony Society of Greater Williamsburg Records (MG 81-D). ","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections."],"scopecontent_html_tesm":["\u003cp\u003eThis collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.\u003c/p\u003e\n","\u003cp\u003eOral history interviews with key musicians and local supporters of the \u003cextref href=\"http://dc.lib.odu.edu/cdm/landingpage/collection/vsooh\"\u003eVirginia Symphony Orchestra\u003c/extref\u003e have been digitized and are available in the Old Dominion University Digital Collections.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["This collection consists of materials related to the Virginia Symphony Orchestra and its predecessors, including its board of directors, committees, conductors, and musicians. Some of the records include administrative materials, correspondence, publicity, new clippings, newsletters, concert programs, calendars, photographs, multimedia, reports, contracts, financial records, and membership information.","Oral history interviews with key musicians and local supporters of the  Virginia Symphony Orchestra  have been digitized and are available in the Old Dominion University Digital Collections."],"userestrict_html_tesm":["\u003cp\u003eBefore publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Before publishing quotations or excerpts from any materials, permission must be obtained from Special Collections and University Archives, and the holder of the copyright, if not Old Dominion University Libraries."],"abstract_html_tesm":["\u003cabstract id=\"aspace_f76ee0c0400ad3177948b4d0cb76c33a\"\u003eConsists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs.\u003c/abstract\u003e"],"abstract_tesim":["Consists of the Virginia Symphony Orchestra organizational archives, the Virginia Symphony Board archives, artifacts concerning premieres and other notable performances, and season programs."],"names_coll_ssim":["Virginia Symphony"],"names_ssim":["ODU Community Collections","Virginia Symphony"],"corpname_ssim":["ODU Community Collections","Virginia Symphony"],"language_ssim":["English \n.    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