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For more information, please see the Permissions and Copyright page on the West Virginia and Regional History Center website."],"date_range_isim":[1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018],"containers_ssim":["Box 10"],"_nest_path_":"/components#8/components#1","timestamp":"2026-06-02T16:06:31.900Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_6881","ead_ssi":"wvmturhc_repositories_2_resources_6881","_root_":"wvmturhc_repositories_2_resources_6881","_nest_parent_":"wvmturhc_repositories_2_resources_6881","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_6881.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/208464","title_ssm":["Jeff Mann Papers"],"title_tesim":["Jeff Mann Papers"],"unitdate_ssm":["1975-2018"],"unitdate_inclusive_ssm":["1975-2018"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4524","Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival Resource Key","Previous Archival 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Faculty reviews are closed till 2032; the rest of the collection is open for research.","Jeffrey A. Mann, poet, memoirist, fiction writer, and creative writing professor at Virginia Polytechnic Institute (Virginia Tech), was born in Clifton Forge, Virginia in 1959 to Perry and Clara Mann. He spent most of his early life in Hinton, West Virginia, where he left in 1977 to attend West Virginia University. ","At WVU Mann received a B.A. in English (magna cum laude) and a B.S. in forestry (magna cum laude) in 1981.  He received his M.A. in English in 1984 from West Virginia University.  Mann's poems written while at WVU describe his life in Morgantown as a student and a gay man. ","After graduation Mann taught briefly at George Washington University in Washington, D.C. (1985), but he missed mountain life so returned to WVU to teach English, 1987-1989. In 1989 he was asked to teach Introduction to Appalachian Studies at Virginia Tech where he eventually became a full time tenured faculty member in the English Department.","Mann continues to write, penning 6 books of poetry, three volumes of short fiction, a book of poetry and memoir, and three collections of essays.  Through his writing Mann explores the themes of gay sexuality, Appalachia, and the rites of manhood. His most recent project is as co-editor of  LGBTQ Fiction and Poetry from Appalachia , 2019.  Mann's poems and novels have received wide acclaim and numerous awards including two Lambda Awards and four National Leather Association-International literary awards.","[Extracted from various sources including Mann's autobiographical work  Loving Mountains, Loving Men ]","Papers of Jeff Mann, a West Virginia University alumnus, author, and Virginia Tech (VT) English professor.  The collection chronicles Mann's prolific writing of predominantly poetry beginning with early poems from his time at WVU in Morgantown in the 1980s.  In addition to over 300 poems, the collection includes working manuscripts of unpublished works, serial publications containing his poetry and other published works including novels, short stories, and essays.  Publicity materials are represented by newspaper articles, posters and flyers, book catalogs, and writers' blurbs for his books. Other materials include correspondence and contracts with publishers, some personal correspondence, some Virginia Tech Department of English publications and faculty evaluations of Mann.","Mann's writing is represented by working manuscripts, topic ideas and background research, rough outlines, publishers' proofs, edited drafts of all genres of his writing, and final published versions.  In addition to a large number of poems, it also includes essays, novels, short stories, and a few speeches, all related to Mann's experience as a gay man in Appalachia.","Most of the poems (boxes 2, 4-5) are typed, but the earlier ones, 1982-1986, are handwritten manuscripts.  The typed poems are sorted by Mann alphabetically, primarily into reused individual folders. Some have handwritten edits by Mann, some with comments by others from when the poems were workshopped, and some with edits from friends and family. Some poems also come with rough early ideas; words; and research on the topic, such as the Civil War.  The poems often reflect major Appalachian themes such as love of place and the beauty and culture of the mountains. Some are set in West Virginia locales and towns including Morgantown, Beckley, and Hinton.  Poems by authors other than Mann include ones written about him and poems by Robin Mullen.","Being a gay man in Appalachia is a major theme in Mann's essays, short stories, and novels; many are homoerotic.  Working manuscripts sometime with handwritten notes include  Edge ,  A History of Barbed Wire ,  Loving Mountains, Loving Men ,  Bones Washed in Wine , and others. Mann was also interested in Norse mythology and neopaganism which is reflected in some of his stories and essays.","Scattered throughout the collection are promotional materials for Mann's verse and prose which include posters for appearances and readings; newspaper and magazine articles about Mann; interviews; book reviews; blurbs in praise of specific books; and catalogs for gay books, such as the insightoutbooks catalog which includes Mann's books. \nThe majority of the correspondence in the collection is with publishers (mostly in boxes 2 and 5) and includes contracts and agreements, galley proofs of manuscripts and corrections, author's blurbs, cover art, and royalty check stubs. Publishers include Gival Press, Haworth Press, L.B. Taurus, Harrington Park Press, Alyson Books, Lethe Press, various university presses including West Virginia University and Ohio University, and more.  Other business matters include acceptance and rejection letters for faculty positions at various universities, acceptance and rejection letters for submitted poems, invitations to submit poems, and poetry contest wins and losses. Additional correspondence deals with other business matters including a consulting contract with Edvantia, and requests for other authors' permissions to use their materials in books.","There is scant personal correspondence which includes letters from his father, Perry; his mother; and his sister, Amy, who provided feedback on poems.  There are also some cards and letters from friends and some thank you cards from students and others.  Two letters from friends (box 2) recount their coming out as gay experiences.  Print emails (box 3) sent to Virginia Tech alumni chapter presidents pertain to a challenge from an alumnus who objected to Mann as an instructor and questions giving to Virginia Tech. In addition to the original email to the alumni, the stream includes correspondence from those supportive and encouraging to Mann.","Other materials from Virginia Tech include comments and formal evaluations on Mann's performance as an English Department faculty member, his promotion to tenure, and letters of praise for Mann's teaching (predominantly box 3).  The collection also includes other VT publications such as the VT English Department newsletter and others (also predominantly box 3).","There are a few photographs: one of Mann eating a donut while at West Virginia University in the 1980s (box 8), some with friends (box 1), and a formal head shot with a humorous enclosure (box 2).","The Addendum of 2022/09/02 includes both manuscripts of unpublished works as well as pubished poems in serial publications and short stories in anthologies.  Significantly, Mann's  Masters Degree thesis (1984) and some earlier writings for college course work are included.  Conference programs for those Mann regularly attended include the Appalachian Studies Conference and the National Teachers of English conference.","This collection is minimally processed.","Typed and handwritten manuscripts of Jeff Mann's early poems (1982-1986) which were written while he was a student at West Virginia University; and manuscripts of longer works.  Newspapers with articles about Mann, flyers, and other publicity for Mann's work while he was an English professor at Virginia Tech. Includes some correspondence and a few photographs of him with friends.","Correspondence with publishers including agreements, proof corrections, cover art, and royalty statements.   Acceptance and rejection letters for faculty positions at various universities, acceptance and rejection letters for submitted poems, invitations to submit poems, and poetry contest wins and losses.  Typed works, roughly alphabetically arranged S-W (other works in rough alphabetical order in Boxes 4 and 5).  Published works. Personal correspondence.","Manuscripts of long form works, poems, and essays, some with handwritten notes and edits; publishers' proofs. Virginia Tech (VT) faculty evaluations of Mann (2010, 2013, 2015) and other evaluations; VT English Department newsletters. Publicity including newspaper and other publication articles, interviews, publishers' catalogs, flyers, posters, and authors' blurbs in praise of Mann's writing.","Poems, essays, and short stories roughly arranged alphabetically with some strays, \"4X4\" through \"History of Barbed Wire\" (other workss in rough alphabetical order in Boxes 2 and 5); some poems are edited and some have commentary by others. \"2014 Highland Summer Conference, Jeff Mann\" compact disc. Publishers' correspondence and publicity.","Poems, essays, and short stories roughly arranged alphabetically, P-S (other works in alphabetical order in Boxes 2 and 4); some poems are edited and some have commentary by others. Correspondence from publishers. Miscellaneous writings by Mann. Reviews of Mann's works.","Mann's long form published works (6); Mann's poems and stories in serial publications (11); and anthologies (3).  Additional published works are in Box 2","Mann's shorter works in serial publications, including issues of  RFD, A Country Journal for Gay Men Anywhere ; and one anthology with a Mann poem. Additional published works are in Box 2.","Oversized materials, some moved from other boxes, including early poems (1982-1983). Includes newspapers and newsletters, a mounted photograph of Mann eating a donut while at WVU (ca. 1980), other poems, and promotional posters.","This addendum includes both manuscripts of unpublished works as well as pubished poems in serial publications and short stories in anthologies.  Significantly, Mann's  Masters Degree thesis (1984) and some earlier writings for college course work are included.  Conference programs for those Mann regularly attended include the Appalachian Studies Conference and the National Teachers of English conference.","The donor has retained the literary rights to the published and unpublished literary content in this collection; permission to publish or reproduce the literary materials in this collection is required from the copyright holder. The donor of this collection has transferred rights to the intellectual property of the non-literary content to the Center. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Mann, Jeff","English \n.    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The donor of this collection has transferred rights to the intellectual property of the non-literary content to the Center. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Jeff Mann, 2021"],"access_subjects_ssim":["Gay authors","Gay men -- Fiction","Gays -- Fiction","Sadomasochism","Bondage (Sexual behavior)","Poetry -- Appalachian Region"],"access_subjects_ssm":["Gay authors","Gay men -- Fiction","Gays -- Fiction","Sadomasochism","Bondage (Sexual behavior)","Poetry -- Appalachian Region"],"has_online_content_ssim":["false"],"extent_ssm":["10.54 Linear Feet 7 ft. 2 1/2 in. (7 records cartons, 15 in. each); (4 document cases, 5 in. each); (1 flat storage box, 1 1/2 in.)"],"extent_tesim":["10.54 Linear Feet 7 ft. 2 1/2 in. (7 records cartons, 15 in. each); (4 document cases, 5 in. each); (1 flat storage box, 1 1/2 in.)"],"date_range_isim":[1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018],"accessrestrict_html_tesm":["\u003cp\u003eSpecial access restriction applies. Faculty reviews are closed till 2032; the rest of the collection is open for research.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["Special access restriction applies. Faculty reviews are closed till 2032; the rest of the collection is open for research."],"bioghist_html_tesm":["\u003cp\u003eJeffrey A. Mann, poet, memoirist, fiction writer, and creative writing professor at Virginia Polytechnic Institute (Virginia Tech), was born in Clifton Forge, Virginia in 1959 to Perry and Clara Mann. He spent most of his early life in Hinton, West Virginia, where he left in 1977 to attend West Virginia University. \u003c/p\u003e\n","\u003cp\u003eAt WVU Mann received a B.A. in English (magna cum laude) and a B.S. in forestry (magna cum laude) in 1981.  He received his M.A. in English in 1984 from West Virginia University.  Mann's poems written while at WVU describe his life in Morgantown as a student and a gay man. \u003c/p\u003e\n","\u003cp\u003eAfter graduation Mann taught briefly at George Washington University in Washington, D.C. (1985), but he missed mountain life so returned to WVU to teach English, 1987-1989. In 1989 he was asked to teach Introduction to Appalachian Studies at Virginia Tech where he eventually became a full time tenured faculty member in the English Department.\u003c/p\u003e\n","\u003cp\u003eMann continues to write, penning 6 books of poetry, three volumes of short fiction, a book of poetry and memoir, and three collections of essays.  Through his writing Mann explores the themes of gay sexuality, Appalachia, and the rites of manhood. His most recent project is as co-editor of \u003ctitle\u003e\u003cpart\u003eLGBTQ Fiction and Poetry from Appalachia\u003c/part\u003e\u003c/title\u003e, 2019.  Mann's poems and novels have received wide acclaim and numerous awards including two Lambda Awards and four National Leather Association-International literary awards.\u003c/p\u003e\n","\u003cp\u003e[Extracted from various sources including Mann's autobiographical work \u003ctitle\u003e\u003cpart\u003eLoving Mountains, Loving Men\u003c/part\u003e\u003c/title\u003e]\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Jeffrey A. Mann, poet, memoirist, fiction writer, and creative writing professor at Virginia Polytechnic Institute (Virginia Tech), was born in Clifton Forge, Virginia in 1959 to Perry and Clara Mann. He spent most of his early life in Hinton, West Virginia, where he left in 1977 to attend West Virginia University. ","At WVU Mann received a B.A. in English (magna cum laude) and a B.S. in forestry (magna cum laude) in 1981.  He received his M.A. in English in 1984 from West Virginia University.  Mann's poems written while at WVU describe his life in Morgantown as a student and a gay man. ","After graduation Mann taught briefly at George Washington University in Washington, D.C. (1985), but he missed mountain life so returned to WVU to teach English, 1987-1989. In 1989 he was asked to teach Introduction to Appalachian Studies at Virginia Tech where he eventually became a full time tenured faculty member in the English Department.","Mann continues to write, penning 6 books of poetry, three volumes of short fiction, a book of poetry and memoir, and three collections of essays.  Through his writing Mann explores the themes of gay sexuality, Appalachia, and the rites of manhood. His most recent project is as co-editor of  LGBTQ Fiction and Poetry from Appalachia , 2019.  Mann's poems and novels have received wide acclaim and numerous awards including two Lambda Awards and four National Leather Association-International literary awards.","[Extracted from various sources including Mann's autobiographical work  Loving Mountains, Loving Men ]"],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Jeff Mann Papers, A\u0026amp;M 4524, 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], Jeff Mann Papers, A\u0026M 4524, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003ePapers of Jeff Mann, a West Virginia University alumnus, author, and Virginia Tech (VT) English professor.  The collection chronicles Mann's prolific writing of predominantly poetry beginning with early poems from his time at WVU in Morgantown in the 1980s.  In addition to over 300 poems, the collection includes working manuscripts of unpublished works, serial publications containing his poetry and other published works including novels, short stories, and essays.  Publicity materials are represented by newspaper articles, posters and flyers, book catalogs, and writers' blurbs for his books. Other materials include correspondence and contracts with publishers, some personal correspondence, some Virginia Tech Department of English publications and faculty evaluations of Mann.\u003c/p\u003e\n","\u003cp\u003eMann's writing is represented by working manuscripts, topic ideas and background research, rough outlines, publishers' proofs, edited drafts of all genres of his writing, and final published versions.  In addition to a large number of poems, it also includes essays, novels, short stories, and a few speeches, all related to Mann's experience as a gay man in Appalachia.\u003c/p\u003e\n","\u003cp\u003eMost of the poems (boxes 2, 4-5) are typed, but the earlier ones, 1982-1986, are handwritten manuscripts.  The typed poems are sorted by Mann alphabetically, primarily into reused individual folders. Some have handwritten edits by Mann, some with comments by others from when the poems were workshopped, and some with edits from friends and family. Some poems also come with rough early ideas; words; and research on the topic, such as the Civil War.  The poems often reflect major Appalachian themes such as love of place and the beauty and culture of the mountains. Some are set in West Virginia locales and towns including Morgantown, Beckley, and Hinton.  Poems by authors other than Mann include ones written about him and poems by Robin Mullen.\u003c/p\u003e\n","\u003cp\u003eBeing a gay man in Appalachia is a major theme in Mann's essays, short stories, and novels; many are homoerotic.  Working manuscripts sometime with handwritten notes include \u003ctitle\u003e\u003cpart\u003eEdge\u003c/part\u003e\u003c/title\u003e, \u003ctitle\u003e\u003cpart\u003eA History of Barbed Wire\u003c/part\u003e\u003c/title\u003e, \u003ctitle\u003e\u003cpart\u003eLoving Mountains, Loving Men\u003c/part\u003e\u003c/title\u003e, \u003ctitle\u003e\u003cpart\u003eBones Washed in Wine\u003c/part\u003e\u003c/title\u003e, and others. Mann was also interested in Norse mythology and neopaganism which is reflected in some of his stories and essays.\u003c/p\u003e\n","\u003cp\u003eScattered throughout the collection are promotional materials for Mann's verse and prose which include posters for appearances and readings; newspaper and magazine articles about Mann; interviews; book reviews; blurbs in praise of specific books; and catalogs for gay books, such as the insightoutbooks catalog which includes Mann's books.\u003clb\u003e\u003c/lb\u003e\nThe majority of the correspondence in the collection is with publishers (mostly in boxes 2 and 5) and includes contracts and agreements, galley proofs of manuscripts and corrections, author's blurbs, cover art, and royalty check stubs. Publishers include Gival Press, Haworth Press, L.B. Taurus, Harrington Park Press, Alyson Books, Lethe Press, various university presses including West Virginia University and Ohio University, and more.  Other business matters include acceptance and rejection letters for faculty positions at various universities, acceptance and rejection letters for submitted poems, invitations to submit poems, and poetry contest wins and losses. Additional correspondence deals with other business matters including a consulting contract with Edvantia, and requests for other authors' permissions to use their materials in books.\u003c/p\u003e\n","\u003cp\u003eThere is scant personal correspondence which includes letters from his father, Perry; his mother; and his sister, Amy, who provided feedback on poems.  There are also some cards and letters from friends and some thank you cards from students and others.  Two letters from friends (box 2) recount their coming out as gay experiences.  Print emails (box 3) sent to Virginia Tech alumni chapter presidents pertain to a challenge from an alumnus who objected to Mann as an instructor and questions giving to Virginia Tech. In addition to the original email to the alumni, the stream includes correspondence from those supportive and encouraging to Mann.\u003c/p\u003e\n","\u003cp\u003eOther materials from Virginia Tech include comments and formal evaluations on Mann's performance as an English Department faculty member, his promotion to tenure, and letters of praise for Mann's teaching (predominantly box 3).  The collection also includes other VT publications such as the VT English Department newsletter and others (also predominantly box 3).\u003c/p\u003e\n","\u003cp\u003eThere are a few photographs: one of Mann eating a donut while at West Virginia University in the 1980s (box 8), some with friends (box 1), and a formal head shot with a humorous enclosure (box 2).\u003c/p\u003e\n","\u003cp\u003eThe Addendum of 2022/09/02 includes both manuscripts of unpublished works as well as pubished poems in serial publications and short stories in anthologies.  Significantly, Mann's  Masters Degree thesis (1984) and some earlier writings for college course work are included.  Conference programs for those Mann regularly attended include the Appalachian Studies Conference and the National Teachers of English conference.\u003c/p\u003e\n","\u003cp\u003eThis collection is minimally processed.\u003c/p\u003e","\u003cp\u003eTyped and handwritten manuscripts of Jeff Mann's early poems (1982-1986) which were written while he was a student at West Virginia University; and manuscripts of longer works.  Newspapers with articles about Mann, flyers, and other publicity for Mann's work while he was an English professor at Virginia Tech. Includes some correspondence and a few photographs of him with friends.\u003c/p\u003e","\u003cp\u003eCorrespondence with publishers including agreements, proof corrections, cover art, and royalty statements.   Acceptance and rejection letters for faculty positions at various universities, acceptance and rejection letters for submitted poems, invitations to submit poems, and poetry contest wins and losses.  Typed works, roughly alphabetically arranged S-W (other works in rough alphabetical order in Boxes 4 and 5).  Published works. Personal correspondence.\u003c/p\u003e","\u003cp\u003eManuscripts of long form works, poems, and essays, some with handwritten notes and edits; publishers' proofs. Virginia Tech (VT) faculty evaluations of Mann (2010, 2013, 2015) and other evaluations; VT English Department newsletters. Publicity including newspaper and other publication articles, interviews, publishers' catalogs, flyers, posters, and authors' blurbs in praise of Mann's writing.\u003c/p\u003e","\u003cp\u003ePoems, essays, and short stories roughly arranged alphabetically with some strays, \"4X4\" through \"History of Barbed Wire\" (other workss in rough alphabetical order in Boxes 2 and 5); some poems are edited and some have commentary by others. \"2014 Highland Summer Conference, Jeff Mann\" compact disc. Publishers' correspondence and publicity.\u003c/p\u003e","\u003cp\u003ePoems, essays, and short stories roughly arranged alphabetically, P-S (other works in alphabetical order in Boxes 2 and 4); some poems are edited and some have commentary by others. Correspondence from publishers. Miscellaneous writings by Mann. Reviews of Mann's works.\u003c/p\u003e","\u003cp\u003eMann's long form published works (6); Mann's poems and stories in serial publications (11); and anthologies (3).  Additional published works are in Box 2\u003c/p\u003e","\u003cp\u003eMann's shorter works in serial publications, including issues of \u003ctitle\u003e \u003cpart\u003eRFD, A Country Journal for Gay Men Anywhere\u003c/part\u003e\n\u003c/title\u003e; and one anthology with a Mann poem. Additional published works are in Box 2.\u003c/p\u003e","\u003cp\u003eOversized materials, some moved from other boxes, including early poems (1982-1983). Includes newspapers and newsletters, a mounted photograph of Mann eating a donut while at WVU (ca. 1980), other poems, and promotional posters.\u003c/p\u003e","\u003cp\u003eThis addendum includes both manuscripts of unpublished works as well as pubished poems in serial publications and short stories in anthologies.  Significantly, Mann's  Masters Degree thesis (1984) and some earlier writings for college course work are included.  Conference programs for those Mann regularly attended include the Appalachian Studies Conference and the National Teachers of English conference.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["Papers of Jeff Mann, a West Virginia University alumnus, author, and Virginia Tech (VT) English professor.  The collection chronicles Mann's prolific writing of predominantly poetry beginning with early poems from his time at WVU in Morgantown in the 1980s.  In addition to over 300 poems, the collection includes working manuscripts of unpublished works, serial publications containing his poetry and other published works including novels, short stories, and essays.  Publicity materials are represented by newspaper articles, posters and flyers, book catalogs, and writers' blurbs for his books. Other materials include correspondence and contracts with publishers, some personal correspondence, some Virginia Tech Department of English publications and faculty evaluations of Mann.","Mann's writing is represented by working manuscripts, topic ideas and background research, rough outlines, publishers' proofs, edited drafts of all genres of his writing, and final published versions.  In addition to a large number of poems, it also includes essays, novels, short stories, and a few speeches, all related to Mann's experience as a gay man in Appalachia.","Most of the poems (boxes 2, 4-5) are typed, but the earlier ones, 1982-1986, are handwritten manuscripts.  The typed poems are sorted by Mann alphabetically, primarily into reused individual folders. Some have handwritten edits by Mann, some with comments by others from when the poems were workshopped, and some with edits from friends and family. Some poems also come with rough early ideas; words; and research on the topic, such as the Civil War.  The poems often reflect major Appalachian themes such as love of place and the beauty and culture of the mountains. Some are set in West Virginia locales and towns including Morgantown, Beckley, and Hinton.  Poems by authors other than Mann include ones written about him and poems by Robin Mullen.","Being a gay man in Appalachia is a major theme in Mann's essays, short stories, and novels; many are homoerotic.  Working manuscripts sometime with handwritten notes include  Edge ,  A History of Barbed Wire ,  Loving Mountains, Loving Men ,  Bones Washed in Wine , and others. Mann was also interested in Norse mythology and neopaganism which is reflected in some of his stories and essays.","Scattered throughout the collection are promotional materials for Mann's verse and prose which include posters for appearances and readings; newspaper and magazine articles about Mann; interviews; book reviews; blurbs in praise of specific books; and catalogs for gay books, such as the insightoutbooks catalog which includes Mann's books. \nThe majority of the correspondence in the collection is with publishers (mostly in boxes 2 and 5) and includes contracts and agreements, galley proofs of manuscripts and corrections, author's blurbs, cover art, and royalty check stubs. Publishers include Gival Press, Haworth Press, L.B. Taurus, Harrington Park Press, Alyson Books, Lethe Press, various university presses including West Virginia University and Ohio University, and more.  Other business matters include acceptance and rejection letters for faculty positions at various universities, acceptance and rejection letters for submitted poems, invitations to submit poems, and poetry contest wins and losses. Additional correspondence deals with other business matters including a consulting contract with Edvantia, and requests for other authors' permissions to use their materials in books.","There is scant personal correspondence which includes letters from his father, Perry; his mother; and his sister, Amy, who provided feedback on poems.  There are also some cards and letters from friends and some thank you cards from students and others.  Two letters from friends (box 2) recount their coming out as gay experiences.  Print emails (box 3) sent to Virginia Tech alumni chapter presidents pertain to a challenge from an alumnus who objected to Mann as an instructor and questions giving to Virginia Tech. In addition to the original email to the alumni, the stream includes correspondence from those supportive and encouraging to Mann.","Other materials from Virginia Tech include comments and formal evaluations on Mann's performance as an English Department faculty member, his promotion to tenure, and letters of praise for Mann's teaching (predominantly box 3).  The collection also includes other VT publications such as the VT English Department newsletter and others (also predominantly box 3).","There are a few photographs: one of Mann eating a donut while at West Virginia University in the 1980s (box 8), some with friends (box 1), and a formal head shot with a humorous enclosure (box 2).","The Addendum of 2022/09/02 includes both manuscripts of unpublished works as well as pubished poems in serial publications and short stories in anthologies.  Significantly, Mann's  Masters Degree thesis (1984) and some earlier writings for college course work are included.  Conference programs for those Mann regularly attended include the Appalachian Studies Conference and the National Teachers of English conference.","This collection is minimally processed.","Typed and handwritten manuscripts of Jeff Mann's early poems (1982-1986) which were written while he was a student at West Virginia University; and manuscripts of longer works.  Newspapers with articles about Mann, flyers, and other publicity for Mann's work while he was an English professor at Virginia Tech. Includes some correspondence and a few photographs of him with friends.","Correspondence with publishers including agreements, proof corrections, cover art, and royalty statements.   Acceptance and rejection letters for faculty positions at various universities, acceptance and rejection letters for submitted poems, invitations to submit poems, and poetry contest wins and losses.  Typed works, roughly alphabetically arranged S-W (other works in rough alphabetical order in Boxes 4 and 5).  Published works. Personal correspondence.","Manuscripts of long form works, poems, and essays, some with handwritten notes and edits; publishers' proofs. Virginia Tech (VT) faculty evaluations of Mann (2010, 2013, 2015) and other evaluations; VT English Department newsletters. Publicity including newspaper and other publication articles, interviews, publishers' catalogs, flyers, posters, and authors' blurbs in praise of Mann's writing.","Poems, essays, and short stories roughly arranged alphabetically with some strays, \"4X4\" through \"History of Barbed Wire\" (other workss in rough alphabetical order in Boxes 2 and 5); some poems are edited and some have commentary by others. \"2014 Highland Summer Conference, Jeff Mann\" compact disc. Publishers' correspondence and publicity.","Poems, essays, and short stories roughly arranged alphabetically, P-S (other works in alphabetical order in Boxes 2 and 4); some poems are edited and some have commentary by others. Correspondence from publishers. Miscellaneous writings by Mann. Reviews of Mann's works.","Mann's long form published works (6); Mann's poems and stories in serial publications (11); and anthologies (3).  Additional published works are in Box 2","Mann's shorter works in serial publications, including issues of  RFD, A Country Journal for Gay Men Anywhere ; and one anthology with a Mann poem. Additional published works are in Box 2.","Oversized materials, some moved from other boxes, including early poems (1982-1983). Includes newspapers and newsletters, a mounted photograph of Mann eating a donut while at WVU (ca. 1980), other poems, and promotional posters.","This addendum includes both manuscripts of unpublished works as well as pubished poems in serial publications and short stories in anthologies.  Significantly, Mann's  Masters Degree thesis (1984) and some earlier writings for college course work are included.  Conference programs for those Mann regularly attended include the Appalachian Studies Conference and the National Teachers of English conference."],"userestrict_html_tesm":["\u003cp\u003eThe donor has retained the literary rights to the published and unpublished literary content in this collection; permission to publish or reproduce the literary materials in this collection is required from the copyright holder. The donor of this collection has transferred rights to the intellectual property of the non-literary content to the Center. 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":["The donor has retained the literary rights to the published and unpublished literary content in this collection; permission to publish or reproduce the literary materials in this collection is required from the copyright holder. The donor of this collection has transferred rights to the intellectual property of the non-literary content to the Center. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_2c53415ca32a6aa390367d6e3ee2f106\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Mann, Jeff"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Mann, Jeff"],"persname_ssim":["Mann, Jeff"],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":14,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-02T16:06:31.900Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6881_c09_c02"}},{"id":"vihart_repositories_4_resources_488_c03_c85","type":"File","attributes":{"title":"WVPT Kids' Book Festival","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/vihart_repositories_4_resources_488_c03_c85#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"vihart_repositories_4_resources_488_c03_c85","ref_ssm":["vihart_repositories_4_resources_488_c03_c85"],"id":"vihart_repositories_4_resources_488_c03_c85","ead_ssi":"vihart_repositories_4_resources_488","_root_":"vihart_repositories_4_resources_488","_nest_parent_":"vihart_repositories_4_resources_488_c03","parent_ssi":"vihart_repositories_4_resources_488_c03","parent_ssim":["vihart_repositories_4_resources_488","vihart_repositories_4_resources_488_c03"],"parent_ids_ssim":["vihart_repositories_4_resources_488","vihart_repositories_4_resources_488_c03"],"parent_unittitles_ssm":["Furious Flower Poetry Center Records","Events, Programs, and Workshops"],"parent_unittitles_tesim":["Furious Flower Poetry Center Records","Events, Programs, and Workshops"],"text":["Furious Flower Poetry Center Records","Events, Programs, and Workshops","WVPT Kids' Book Festival","box 25","folder 21"],"title_filing_ssi":"WVPT Kids' Book Festival","title_ssm":["WVPT Kids' Book Festival"],"title_tesim":["WVPT Kids' Book Festival"],"unitdate_other_ssim":["2016, undated"],"normalized_date_ssm":["2016"],"normalized_title_ssm":["WVPT Kids' Book Festival"],"component_level_isim":[2],"repository_ssim":["James Madison University"],"collection_ssim":["Furious Flower Poetry Center Records"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":481,"parent_access_restrict_tesm":["Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection."],"parent_access_terms_tesm":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"date_range_isim":[2016],"containers_ssim":["box 25","folder 21"],"_nest_path_":"/components#2/components#84","timestamp":"2026-05-21T00:25:29.210Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"vihart_repositories_4_resources_488","ead_ssi":"vihart_repositories_4_resources_488","_root_":"vihart_repositories_4_resources_488","_nest_parent_":"vihart_repositories_4_resources_488","ead_source_url_ssi":"data/oai/JMU/repositories_4_resources_488.xml","aspace_url_ssi":"https://aspace.lib.jmu.edu/repositories/4/resources/488","title_ssm":["Furious Flower Poetry Center Records"],"title_tesim":["Furious Flower Poetry Center Records"],"unitdate_ssm":["1970-2024"],"unitdate_inclusive_ssm":["1970-2024"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["UA 0017","/repositories/4/resources/488"],"text":["UA 0017","/repositories/4/resources/488","Furious Flower Poetry Center Records","United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century","American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)","Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting.","It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.","The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021 Publications and Manuscripts, 1993-2012 Events, Programs, and Workshops, 1990-2019 Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009 Sub-series 4.2: 2004 Conference, 2002-2007 Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.","\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.","The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. ","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.","Additional information on the Dark Room Collective can be found  here.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.","See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically. ","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" ","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" ","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. ","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. ","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. ","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. ","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. ","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). ","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). ","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. ","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). ","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. ","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. ","This footage was originally recorded on a MII videocassette. ","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). ","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. ","This footage was originally recorded on a MII videocassette. ","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. ","This footage was originally recorded on a MII videocassette. ","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. ","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes. ","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. ","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. ","This footage was originally recorded on 4 DVCAM videocassettes.  ","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. ","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. ","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. ","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","The Furious Flower Poetry Center Records, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center.","James Madison University Libraries Special Collections","James Madison University. Furious Flower Poetry Center","Furious Flower Conference (1st ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 1994 :.)","Furious Flower Conference (2nd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2004 :.)","Furious Flower Conference (3rd ) (Location of meeting: James Madison University). Date of meeting or treaty signing: 2014 :.)","Furious Flower Poetry Center (1999-2004)","James Madison University. Jazz Ensemble","Berry Media Group","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","Hodges, John L.","Wright, Steven","Facknitz, Susan","Brice-Finch, Jacqueline","Claiborne, C. B. (Claudius B.)","Carrier, Ronald E., 1932-2017","Hunt, Doris","Ward, Val Gray (1932-08-21-2024-03-07)","Brown, Vernisha","Aubert, Alvin (1930-03-12-2014-12-06)","Alexander, Elizabeth, 1962-","Traylor, Eleanor W.","Williams, Sherley Anne, 1944-1999","Stover, Darrell \"SCIPOET\"","Drew, Shahara","Miller, Adam David (1922-10-08-2020-11-04)","Love, Monifa A.","Thompson, Mylea","Harper, Michael S. (Michael Steven), 1938-2016","Ellis, Thomas Sayers (1963)","Keene, John (John R.), 1965-","Barrax, Gerald W. (Gerald William) (1933-06-21-2019-12-07)","Derricotte, Toi, 1941-","Miller, E. Ethelbert (Eugene Ethelbert) (1950-11-20)","Allen, Samuel W. (Samuel Washington) (1917-12-09-2015-06-27)","Phillips, Carl, 1959-","Lane, Pinkie Gordon (1923-2008-12-03)","Madhubuti, Haki R., 1942-","Madgett, Naomi Cornelia Long (1923-07-23-2020-11-05)","Baraka, Amiri, 1934-2014","Touré, Askia M. (1938-10-13)","Evans, Mari, 1919-2017","Sanchez, Sonia, 1934-","Ward, Jerry W., Jr. (Jerry Washington), 1943-","Joyce, Joyce Ann, 1949-","Nielsen, Aldon Lynn (1950-10-20)","Rampersad, Arnold (1941-11-13)","Thomas, Lorenzo, 1944-2005","Renegade, D. J.","Salaam, Kalamu ya, 1947-","McDowell, Deborah E., 1951-","Dove, Rita (1952-08-28)","Kendrick, Dolores, 1927-2017","Brooks, Gwendolyn, 1917-2000","Giovanni, Nikki (1943-2024)","Redmond, Eugene (Eugene B.) (1937-12-01)","Gayles, Gloria Jean Wade (19380701)","Collier, Eugenia W. (1928-04-06)","Patterson, Raymond R. (1929-12-14-2001-04-05)","Graham, Maryemma (1949-06-13)","Moore, Opal (1953)","Gabbin, Alexander L. (1945)","Asim, Jabari, 1962-","Braxton, Joanne M. (1950)","Taylor, Clyde (1931-07-03-2024-01-24)","Steptoe, Lamont B., 1949-","Gillespie, Carmen (1965-06-17-2019-08-30)","Coates, Ta-Nehisi (Ta-Nehisi Paul) (1975-09-30)","Rice, Dorothy Marie, 1948-","Blackman, Toni","Alexander, Kwame (1968-08-21)","deGannes, Nehassaiu","Kein, Sybil (1939-09-29-2022-10-28)","Osbey, Brenda Marie (1957-12-12)","Iverem, Esther, 1960-","Saloy, Mona Lisa (19500701)","Drake, Jeannette M.","Fabu","Dance, Daryl Cumber (1938-01-17)","Trethewey, Natasha D., 1966-","Jackson, Major, 1968-","Beatty, Vera L.","Strange, Sharan (1959)","Young, Kevin (Kevin Lowell), 1970-","Gex, Quo Vadis","Bullock, Byron","Morris, Mellasenah Young","Reagon, Bernice Johnson, 1942-","Pettis, Joyce Owens","Fowler, Virginia C., 1948-","Goven, Sandra","Hoagland, Everett (1942-12-18)","Moore, Lenard D., 1958-","Brown, Douglas T.","Harris, Trudier (1948-02)","Holladay, Hilary (1961-07-03)","Bolden, Tony","Clifton, Lucille, 1936-2010","Hughes, Langston (James Mercer Langston), 1902-1967","Anderson, T. J., III, 1958-","Komunyakaa, Yusef (1947-04-29)","Baker, Houston A., Jr., 1943-","Medina, Tony (1966-01-10)","Debo, Annette, 1964-","Favorite, Malaika, 1949-","Pollard, Velma (1937-03-26)","Sanders, Mark A., 1963-","Dibinga, Omékongo","Mullen, Harryette Romell (1953-07-01)","Finney, Nikky (1957-08-26)","Moore, Jessica Care","Boyd, Melba Joyce (1950-04-02)","Harris, William J., 1942-","Lansana, Quraysh Ali (1964-09-13)","Rambsy, Howard (1976)","Rose, Linwood H. (Linwood Howard), 1951-","Thornhill, Samantha","Shannon, Angela","Ellis, Kelly Norman, 1964-","Jess, Tyehimba","Betts, Tara","Singleton, Giovanni","Harris, Duriel E.","Walker, Frank X., 1961-","Sheba Queen","Moon, Kamilah Aisha (1972-09-05)","Martin, Dawn Lundy (1975)","Obadike, Mendi Lewis, 1973-","Shockley, Evie, 1965-","Eady, Cornelius, 1954-","Nelson, Marilyn, 1946-","Dawes, Kwame Senu Neville, 1962-","Warner, Mark R. (Mark Robert) (1954-12-15)","Allen, George, 1952-","Mfume, Kweisi (1948-10-24)","Okai, Atukwei, 1941-","Bond, Julian (Horace Julian), 1940-2015","Obama, Barack","Goodison, Lorna (1947-08-01)","Osundare, Niyi, 1947-","Seibles, Tim (1955)","Smith, Patricia, 1955-","Adesina, Gbenga","Berry, David E., 1982-","Melton, McKinley","Jones, Meta DuEwa","Marshall, Nate, (Poet)","Oliver, Patrick M.","Morgan, Shauna M.","Weaver, Afaa M. (Afaa Michael), 1951-","Kolvoord, Robert","Zimmerman, Traci","Nowviskie, Bethany","McCallum, Shara, 1972-","Hayes, Terrance (1971)","Leonard, Keith D., 1969-","Ramazani, Jahan, 1960-","Sullivan, Mecca Jamillah","Jaji, Tsitsi (Tsitsi Ella)","Giscombe, C. S. (Cecil S.), 1950-","McMorris, Mark","Scheyer, Lauri (1952-09-08)","Williams, Tyrone (1954-02-24-2024-03-11)","Reeves, Roger","Alexander, Michelle, (Poet)","Brooks, RaeJeana","Brown, Jericho","Dungy, Camille T. (Camille Thornton), 1972-","Gumbs, Alexis Pauline, 1982-","Booker, Malika (1970)","Wesley, Patricia Jabbeh (1955-08-07)","Bingham-Risher, Remica (1981)","Shenoda, Matthew (1977-07-14)","Bertram, Lillian-Yvonne, 1983-","Thompson, Lynne, 1951-","Dias-Porter, Joel.","Jackson, Linda Susan","Micheaux, Dante","Sealey, Nicole","Faison, Latorial (1973)","Pinson, Hermine (1953-07-20)","Glenn, Leah","Crisler, Curtis L.","Johnston, Amanda, 1977-","young, avery r.","Redmond, Glenis (1963-08-27)","Willis, Lisa (20)","Wiley, Candace G.","Hayes, Nichelle M.","Gay, Ross (Ross Alexander), 1974-","Hunt, Erica, 1955-","Harris, Francine J.","Azino, Efe Paul (20)","Collins, Merle (1950-09-29)","Smith, Danez","Spellman, A. B., 1935-","Anastacia-Reneé","abdullah-matta, allia","Hannon, Brian James","Wong, Carmin.","Anderson, Keisha-Gaye","Miller, Kei (1978)","Pardlo, Gregory","Padilla, Jeremiah.","Baker, Sonya G.","Lee, Albert Rudolph","Sandler, Matt","Ferrari, Carlyn Ena, 1984-","Werbanowska, Marta.","Rutter, Emily Ruth (1978-02-28)","Lubrin, Canisia, 1984-","Browne, Mahogany L.","English"],"unitid_tesim":["UA 0017","/repositories/4/resources/488"],"normalized_title_ssm":["Furious Flower Poetry Center Records"],"collection_title_tesim":["Furious Flower Poetry Center Records"],"collection_ssim":["Furious Flower Poetry Center Records"],"repository_ssm":["James Madison University"],"repository_ssim":["James Madison University"],"geogname_ssm":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"geogname_ssim":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"creator_ssm":["James Madison University. Furious Flower Poetry Center","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_ssim":["James Madison University. Furious Flower Poetry Center","Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_persname_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K."],"creator_corpname_ssim":["James Madison University. Furious Flower Poetry Center"],"creators_ssim":["Gabbin, Joanne V. (Joanne Veal), 1946-","Alleyne, Lauren K.","James Madison University. Furious Flower Poetry Center"],"places_ssim":["United States -- Poetry","United States -- Intellectual life -- 20th century","United States -- Intellectual life -- 21st century"],"access_terms_ssm":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu)."],"acqinfo_ssim":["Furious Flower Poetry Center transferred these materials to Special Collections on May 16 and June 29, 2016. Subsequent transfers occurred in September 2017, September 2019, April 2023, and October 2024."],"access_subjects_ssim":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"access_subjects_ssm":["American poetry -- African American authors","Poetry -- History and criticism","African American poets","African Americans -- Poetry","African Americans -- Intellectual life -- 20th century","African Americans -- Intellectual life -- 21st century","Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"has_online_content_ssim":["false"],"extent_ssm":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"extent_tesim":["17.6 cubic feet 43 boxes, 1 rolled storage container"],"genreform_ssim":["Administrative records","Grant Proposals","Letters (correspondence)","Electronic mail","Compact discs","Posters","DVDs","Poetry","Exhibit scripts","Photographs","Calendars (documents)","Programs (documents)"],"date_range_isim":[1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023,2024],"accessrestrict_html_tesm":["\u003cp\u003eCollection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003erunning time:\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eResearchers may request digital video reference copies at the file level through the JMU Special Collections Request System.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eAccess to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.\u003c/p\u003e","\u003cp\u003eOriginal audiovisual and media are in process and not available pending reformatting.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions","Access Restrictions"],"accessrestrict_tesim":["Collection is open to research. Currently, the silk banners used in the 2004 and 2014 Furious Flower Poetry Conferences may only be requested (in writing) by Furious Flower Poetry Center staff. Researchers must register and agree to copyright and privacy laws before using this collection. Please contact Research Services staff before visiting the James Madison University Special Collections Library to use this collection.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may access digitized archival audiovisual materials in the JMU Special Collections Reading Room by appointment. Digital files may also be requested through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","running time:","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Researchers may request digital video reference copies at the file level through the JMU Special Collections Request System.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Access to this item is currently restricted for off campus researchers. For more information contact library-special@jmu.edu.","Original audiovisual and media are in process and not available pending reformatting."],"accruals_html_tesm":["\u003cp\u003eIt is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis.\u003c/p\u003e"],"accruals_heading_ssm":["Accruals"],"accruals_tesim":["It is anticipated that the Furious Flower Poetry Center will continue to donate conference files approximately every ten years and other administrative records on a more frequent basis."],"altformavail_html_tesm":["\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e"],"altformavail_heading_ssm":["Other Formats Available"],"altformavail_tesim":["Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions."],"appraisal_html_tesm":["\u003cp\u003eSmall Purchase Credit Card Statements were discarded due to lack of research value.\u003c/p\u003e\n","\u003cp\u003eDue to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system.\u003c/p\u003e"],"appraisal_heading_ssm":[" Appraisal Information"],"appraisal_tesim":["Small Purchase Credit Card Statements were discarded due to lack of research value.","Due to duplication elsewhere in Special Collections the following issues of Madison (known as Montpelier from 1977-2005), many with articles pertaining to Furious Flower Poetry Center, were returned to the donor: Summer 2003, Winter 2005, Spring 2006, Fall 2006, Summer 2006, Spring 2007, Summer 2007, Fall 2007, Fall 2008, Winter 2008, Summer 2009, Fall 2009, Spring/Summer 2010, Spring/Summer 2011, Fall 2011, Spring/Summer 2015. These issues were loose when donated and were not a part of any pre-established order or foldering system."],"arrangement_html_tesm":["\u003cp\u003eThe collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.\u003c/p\u003e","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\n      \u003citem\u003eGrants and Financial Files, 2004-2021\u003c/item\u003e\n      \u003citem\u003ePublications and Manuscripts, 1993-2012\u003c/item\u003e\n      \u003citem\u003eEvents, Programs, and Workshops, 1990-2019\u003c/item\u003e\n      \u003citem\u003eConference Records, 1970-2015\u003c/item\u003e\n    \u003c/list\u003e","\u003cp\u003eThe series is arranged chronologically into three sub-series:\u003c/p\u003e\n","\u003clist numeration=\"arabic\" type=\"ordered\"\u003e\u003citem\u003eSub-series 4.1: 1994 Conference, 1970-2009\u003c/item\u003e\u003citem\u003eSub-series 4.2: 2004 Conference, 2002-2007\u003c/item\u003e\u003citem\u003eSub-series 4.3: 2014 Conference, 2013-2015\u003c/item\u003e\u003c/list\u003e","\u003cp\u003eEvent footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details.\u003c/p\u003e"],"arrangement_heading_ssm":["Arrangement","Arrangement","Arrangement"],"arrangement_tesim":["The collection is arranged into four series. Series are arranged chronologically; Series 2, 3, and 4 are further arranged alphabetically according to a particular publication or event.","Grants and Financial Files, 2004-2021 Publications and Manuscripts, 1993-2012 Events, Programs, and Workshops, 1990-2019 Conference Records, 1970-2015","The series is arranged chronologically into three sub-series:","Sub-series 4.1: 1994 Conference, 1970-2009 Sub-series 4.2: 2004 Conference, 2002-2007 Sub-series 4.3: 2014 Conference, 2013-2015","Event footage is arranged chronologically by capture time, with the exception of the \"supercuts,\" consisting of video montages, which are arranged by program day. See the Interviews with Poets sub-group for additional arrangement details."],"bibliography_html_tesm":["\u003cbibref\u003e\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml.\u003c/bibref\u003e"],"bibliography_heading_ssm":["Bibliography"],"bibliography_tesim":["\"Furious Flower Poetry Center.\" James Madison University. Accessed August 09, 2016. https://www.jmu.edu/furiousflower/index.shtml."],"bioghist_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:\u003c/p\u003e\n","\u003cp\u003eThe time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.\u003c/p\u003e\n","\u003cp\u003eMany who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. \u003c/p\u003e\n","\u003cp\u003eDue to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.\u003c/p\u003e\n","\u003cp\u003eIn 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.\u003c/p\u003e\n","\u003cp\u003eToday, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).\u003c/p\u003e\n","\u003cp\u003eFFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.\u003c/p\u003e","\u003cp\u003eThe 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference.\u003c/p\u003e"],"bioghist_heading_ssm":["Administrative History","Bio/Historical Note"],"bioghist_tesim":["The Furious Flower Poetry Center (FFPC) was established in 1999 by Joanne V. Gabbin when she was the director of James Madison University's Honors Program. With this flagship of the Honors Program, she continued the kind of programming she had begun by hosting the 1994 Furious Flower Poetry Conference, which was the nation's first scholarly conference on Black poetry. The conference, entitled Furious Flower: A Revolution in African American Poetry, was dedicated to acclaimed poet Gwendolyn Brooks and featured scholars, critics, and the most accomplished and esteemed poets of the time including Nikki Giovanni, Rita Dove, Sonia Sanchez, Michael S. Harper, Haki Madhubuti, and Gwendolyn Brooks herself. The name \"Furious Flower\" is derived from Brooks' poem Second Sermon on the Warpland in which she writes:","The time\ncracks into furious flower. Lifts its face\nall unashamed. And sways in wicked grace.","Many who participated in the inaugural Furious Flower conference had their roots in the Black Arts Movement. The Black Arts Movement emerged in the wake of the Black Power Movement of the 1960s and 1970s and was comprised of politically motivated black visionaries, poets, artists, dramatists, musicians, and writers. The conference was met with overwhelming praise and The Washington Post called it an historic event. ","Due to the success of the 1994 Furious Flower Conference, the Furious Flower Poetry Center (FFPC) was established in 1999 and the Conference became a decennial event, held every ten years. The subsequent conferences were Regenerating the Black Poetic Tradition (2004) and Seeding the Future of African American Poetry (2014). Conference programming is comprised of concerts, readings, roundtable and panel discussions, and paper presentations.","In 2005, following the success of the second Furious Flower Poetry Conference (2004), JMU gave the FFPC its official charter, making it the first academic center in the United States devoted to Black poetry. Gabbin became its executive director, leaving the Honors Program after 19 years of service.","Today, the FFPC is committed to \"cultivating, honoring, and promoting the diverse voices of African American poets by making the genre accessible to a wide audience and collaborating with educational and cultural institutions, literary organizations, and artists.\" It hosts visiting poets for readings at JMU and nearby venues; sponsors workshops; holds an annual poetry camp for elementary and middle school-aged children; produces texts, videos, DVDs and other materials on African-American poetry; and gathers poets and other scholars for intimate panels and seminars, as well as major conferences. FFPC has held four decennial Furious Flower Conferences: \"A Revolution in African American Poetry\" (1994), \"Regenerating the Black Poetic Tradition\" (2004), \"Seeding the Future of African American Poetry\" (2014), and \"Furious Flower IV: Celebrating the Worlds of Black Poetry (2024).","FFPC is located off of Martin Luther King Jr. Way/Historic Cantrell Avenue. Beyond her duties as Executive Director of the Furious Flower Poetry Center, Joanne Gabbin is a professor of English at JMU, a published author, and a member of the International Literary Hall of Fame for Writers of African Descent.","The 1994 Conference Video Recordings, 1994 September 29-October 1, were produced by John L. Hodges. The videos represent the raw footage captured during the 1994 Conference."],"odd_html_tesm":["\u003cp\u003eAdditional information on the Dark Room Collective can be found \u003ca href=\"https://poets.org/text/brief-guide-dark-room-collective\"\u003ehere.\u003c/a\u003e\u003c/p\u003e"],"odd_heading_ssm":["General Note"],"odd_tesim":["Additional information on the Dark Room Collective can be found  here."],"otherfindaid_html_tesm":["\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;695ef954-06ba-43a6-b341-cc3edf3fc1e6\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|695ef954-06ba-43a6-b341-cc3edf3fc1e6/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;9e242b35-14e6-4742-bd85-186794dcc4ec\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|9e242b35-14e6-4742-bd85-186794dcc4ec/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://us.preservica.com/explorer/explorer.html#prop:4\u0026amp;ac68aac5-b304-45cc-aeb4-0905f8a57259\"\u003ePreservica Internal\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://jmu.access.preservica.com/archive/sdb%3Acollection|ac68aac5-b304-45cc-aeb4-0905f8a57259/\"\u003ePreservica Access\u003c/a\u003e\u003c/p\u003e"],"otherfindaid_heading_ssm":["Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL","Preservica Internal URL","Preservica Public URL"],"otherfindaid_tesim":["Preservica Internal","Preservica Access","Preservica Internal","Preservica Access","Preservica Internal","Preservica Access"],"prefercite_html_tesm":["\u003cp\u003e[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.\u003c/p\u003e","\u003cp\u003e[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA\u003c/p\u003e"],"prefercite_tesim":["[identification of item], [box #, folder #], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA.","[Identification of item, (including title and date)], [box #, folder # OR identifier], Furious Flower Poetry Center Records, 1970-2021, UA 0017, Special Collections, Carrier Library, James Madison University, Harrisonburg, VA"],"processinfo_html_tesm":["\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"\u003c/p\u003e","\u003cp\u003eIn April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.\u003c/p\u003e","\u003cp\u003eProcessing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eThe donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.\u003c/p\u003e","\u003cp\u003eVideo recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information","Processing Information","Processing Note"],"processinfo_tesim":["The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. All material contained within three-ring binders was disbound and foldered in original order. During processing several folders were discovered to be empty. Their folder titles are as follows: Dream in Color Drafts, WHSV Children First 2010, WVPT Kid's Book Festival 2010, Poetry Month 2010, Winter Poetry Contest 2010, Marilyn Nelson Reading 2010, 73 Poems Honorariums (Music). The empty folders were discarded. Numerous folders with small purchase credit card statements and receipts were also discarded. Series I has also been renamed \"Grants and Financial Files.\"","In April 2022, the contents of the Furious Flower Poetry Center Conference Records (UA 0018) were incorporated into the Furious Flower Poetry Center Records (UA 0017) due to the collections' shared provenance and their creation by the same administrative body. The conference records were added as a separate series with subseries for each of the decennial conferences. At this same time, accruals received after initial processing were physically arranged to match their intellectual arrangement. Additional financial files deemed to have limited research value were also weeded in April 2022. Administrative receipts, travel vouchers, travel expenses and reimbursements, travel authorizations, purchase orders, invoices for supplies, monthly detail budget reports, and budget revisions were returned to FFPC.","Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","The donor's original order, including folder titles, was maintained whenever possible. The archivist imposed an order on any unordered files, titled any untitled files, and created discrete series. Social security numbers and bank account numbers have been redacted from materials. When possible, newspapers and clippings were photocopied and originals returned to donor. The collection of magnesium letterpress die plates are individually boxed and organized by the poem's appearance in the publication Furious Flower: A Revolution in African American Poetry into larger boxes (one record storage box and one oversize Hollinger box). Furious Flower Poetry Center donated a box of rolled posters in cardboard tubes, all identical, from the 1994 and 2004 conferences – each cardboard tube contained one 1994 poster and one 2004 poster. Due to duplication elsewhere in this collection, only one set of posters was retained. They were flattened and placed in the Oversize series. Processing of audiovisual content is in-process as of April 2022. Access will be made available to content once processing is complete, barring any copyright or use restrictions.","Video recordings were digitized for preservation and research access by Scene Savers in 2016 and 2017. Select records were decribed by JMU graduate assistant Mitchell Teal in 2018 and 2019 for research access through JMU Scholarly Commons in support of a JMU X-Labs course. Description is ongoing as of 2022. Access to content will be made available once description is complete, barring any copyright or other use restrictions."],"relatedmaterial_html_tesm":["\u003cp\u003eSee \"1994 Conference Program, 1994\" in Series 1 for original conference program.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003eSee the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29908\"\u003eSam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29910\"\u003eToi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30094\"\u003eNamoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30095\"\u003eNamoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29998\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29999\"\u003e Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30039\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A\u003c/a\u003e\u003c/p\u003e\n","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/30040\"\u003eMichael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e","\u003cp\u003e\u003ca href=\"https://aspace.lib.jmu.edu/repositories/4/archival_objects/29907\"\u003eMari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut\u003c/a\u003e\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials","Related Materials"],"relatedmaterial_tesim":["See \"1994 Conference Program, 1994\" in Series 1 for original conference program.","See the file Poetry Reading 2, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Critical Theories and Approaches in African American Poetry, 1994 September 30, located in the 1994 Conference Video Recordings sub-group.","See the file Critics' Roundtable: Writing a Literary History of African American Poetry, 1994 October 1, located in the 1994 Conference Video Recordings sub-group.","See the file Poetry Reading 5, 1994 September 29, located in the 1994 Conference Video Recordings sub-group.","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Sam Allen, Alvin Aubert, Amiri Baraka Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Toi Derricotte, Haki Madhubuti, and Naomi Long Madgett Interviews Final Cut","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B","Namoi Long Madgett and Eleanor Traylor Interview A. Mari Evans and Val Gray Ward Interview A","Namoi Long Madgett and Eleanor Traylor Interview B. Mari Evans and Val Gray Ward Interview B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B"," Amiri Baraka interviewed by Askia Touré Part 2, Camera A. Nikki Giovanni interviewed by Virginia Fowler, Camera A"," Amiri Baraka interviewed by Askia Touré Part 2, Camera B. Nikki Giovanni interviewed by Virginia Fowler, Camera B","Michael Harper interviewed by Aldon Nielsen Part 2, Camera A. Toi Derricotte interviewed by Opal Moore Camera A","Michael Harper interviewed by Aldon Nielsen Part 2, Camera B. Toi Derricotte interviewed by Opal Moore Camera B","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut","Mari Evans, Everett Hoagland, and Sonia Sanchez Interviews Final Cut"],"scopecontent_html_tesm":["\u003cp\u003eThe Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.\u003c/p\u003e","\u003cp\u003eArranged chronologically. \u003c/p\u003e\n","\u003cp\u003eFFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.\u003c/p\u003e","\u003cp\u003eArranged chronologically by project date and sub-arranged alphabetically within each project.\u003c/p\u003e\n","\u003cp\u003eThis series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.\u003c/p\u003e","\u003cp\u003eArranged chronologically by event and sub-arranged alphabetically within each event.\u003c/p\u003e\n","\u003cp\u003eThis series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.\u003c/p\u003e\n","\u003cp\u003eOne file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.\u003c/p\u003e","\u003cp\u003eThis series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.\u003c/p\u003e","\u003cp\u003eArranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.\u003c/p\u003e","\u003cp\u003eThis series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.\u003c/p\u003e","\u003cp\u003eOpening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.\u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003eMichael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 4 MII videocassettes.\u003c/p\u003e","\u003cp\u003eRita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eThe Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eOriginal 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003ePoetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. \u003c/p\u003e\n","\u003cp\u003eTape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 MII videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 6 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.\u003c/p\u003e","\u003cp\u003eSupercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eSupercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eSupercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on a MII videocassette. \u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eFootage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eAudience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eInterviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.\u003c/p\u003e","\u003cp\u003eArranged alphabetically.\u003c/p\u003e\n","\u003cp\u003eMaterials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.\u003c/p\u003e","\u003cp\u003eOpening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eFootage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eKeynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.\u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes. \u003c/p\u003e","\u003cp\u003eFootage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eThe second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eLaureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 VHS videocassettes.\u003c/p\u003e","\u003cp\u003ePoetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.\u003c/p\u003e","\u003cp\u003eTribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 4 DVCAM videocassettes.  \u003c/p\u003e","\u003cp\u003ePoetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 1 DVCAM videocassette.\u003c/p\u003e","\u003cp\u003eThe third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 3 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eCave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 DVCAM videocassettes.\u003c/p\u003e","\u003cp\u003eConference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. \u003c/p\u003e\n","\u003cp\u003eThis footage was originally recorded on 2 videocassettes.\u003c/p\u003e","\u003cp\u003eLifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.\u003c/p\u003e","\u003cp\u003eOpening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eKeynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026amp; Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.\u003c/p\u003e","\u003cp\u003eThe Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eA Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eFurious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026amp; Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eDear Yusef: Celebrating the Life \u0026amp; Work of Poet \u0026amp; Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eWalk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eLaureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.\u003c/p\u003e","\u003cp\u003eMagnitude \u0026amp; Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026amp; Culture (CBLC), and Obsidian: Literature \u0026amp; Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.\u003c/p\u003e","\u003cp\u003eGrowing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.\u003c/p\u003e","\u003cp\u003eBlack Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.\u003c/p\u003e","\u003cp\u003eBlack Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.\u003c/p\u003e","\u003cp\u003eA Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.\u003c/p\u003e","\u003cp\u003eBlack Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.\u003c/p\u003e","\u003cp\u003eClosing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.\u003c/p\u003e","\u003cp\u003eInterview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e","\u003cp\u003eInterview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Content","Contents","Contents","Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content","Scope and Content"],"scopecontent_tesim":["The Furious Flower Poetry Center Records, 1970-2024, consisting of 17.6 cubic feet (43 boxes, 1 rolled storage container), document the departmental activities of the Furious Flower Poetry Center, a unit formerly of the JMU Honor's Program that became its own separate academic center of the University in 2005. A portion of the material contained within the records derive from events and programs sponsored by the Furious Flower Poetry Center including 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, Lineage: The Margaret Walker Song Cycle, and an annual children's poetry camp. Specific types of materials include event posters and brochures, exhibit panels, logistical and planning documentation, and email correspondence. Materials related to publications produced by the Center such as Mourning Katrina: A Poetic Response to Tragedy and Shaping Memories: Reflections of African American Women Writers are comprised of draft manuscripts and correspondence with poets and publishers. Grant proposals and awards, many of which relate to the aforementioned events and projects, are also represented. Materials related to the decennial Furious Flower poetry conferences, including administrative documentation and video recordings, are represented in the Conference Records series.","Arranged chronologically. ","FFPC relies heavily on funding from corporate entities and non-profits to subsidize and off-set the cost of furthering their mission of promoting African-American poetry. As such, this series contains grant proposals and awards (all closed) relating to events, publications, and other projects sponsored by the Furious Flower Poetry Center. Projects represented in this series include \"Dream in Color,\" an online curriculum sponsored by Target that enabled elementary, middle, and high-school students to discover the works of African-American poets; and the publication of Mourning Katrina, an anthology of poems by observers and survivors of Hurricane Katrina. All grant materials were removed from three-ring binders and foldered, maintaining original order.","Arranged chronologically by project date and sub-arranged alphabetically within each project.","This series contains material related to publications and manuscripts produced by the Furious Flower Poetry Center. In many cases this refers to books in the typical sense (Mourning Katrina: A Poetic Response to Tragedy, Furious Flower: African-American Poetry from the Black Arts Movement to the Present), Furious Flower Poetry Center also oversaw the publication of The Painted Word – a set of notecards and a corresponding calendar of poets' portraits. Correspondence with various publishers is also included.","Arranged chronologically by event and sub-arranged alphabetically within each event.","This series is comprised of material relating primarily to the many events, programs, and workshops hosted and sponsored by the Furious Flower Poetry Center. Major events represented in this series include Tell Me Your Names: The Poetry of Lucille Clifton, a week-long seminar held June 14 –June 21, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton, a tribute program held September 21, 2010. Of particular interest are 57 oversize exhibit panels from Among Poets: Lucille Clifton Commemorative Exhibition. This 2012 exhibition held at the Reginald F. Lewis Museum and the Enoch Pratt Free Library, both in Baltimore, Maryland, primarily feature photographs by Lynda Koolish of Lucille Clifton, her contemporaries, and her family and friends. The Center's annual Children's Poetry Camp is also well documented. Researchers should note that there are some files in this series (e.g. materials concerning Oni Lasana Productions) that are not directly related to events held by FFPC. These events are likely ones attended by FFPC staff or documented because they serve as examples of comparable outreach initiatives or similar types of promotion.","One file of materials related to the Furious Flower Poetry Center's 25th Anniversary Celebration, held in September 2019 at the National Museum of African American History and Culture, include promotional material, a schedule of events, and a copy of the invocation presented by Rev. Edward A. Scott. Of particular interest is a promotional card inscribed by Qiniso \"Qibho\" Motsa, a poet, musicion, author, and social activist from Eswatini.","This series comprises materials related to the decennial Furious Flower poetry conferences, beginning with the inaugural conference in 1994. A significant portion of the records include logistical and planning documentation for each conference as well as marking and promotional items. These materials are comprised of calls for papers, contracts, correspondence, address lists, ticket requests, travel, transportation, and lodging reservations, and menus. The records include nontraditional items as well. Of interest are exhibit panels (text labels and images) describing and depicting the participants of the 1994 conference. Magnesium letterpress die plates used to print a limited edition portfolio Furious Flower: A Revolution in African American Poetry, a special collection of 23 poems selected by poets (who participated in the 1994 conference) to represent their work, are included. Six silk banners that adorned the Wilson Hall auditorium during the 2004 and 2014 conferences are included.","Arranged alphabetically with the exception of the Exhibit of Participants materials and the magnesium letterpress die plates which are located at the end of the series due to their size. Note that the numbering system for the letterpress die plates is sequential based on each poem's order in the publication Furious Flower: A Revolution in African American Poetry. As such the first folder/four-flap enclosure in box nine is labeled 9:21b. This is the plate for page two of the 21st poem in the publication.\nMaterials in this series primarily document the planning and implementation of the 1994 Furious Flower Poetry Conference: A Revolution in African American Poetry. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. Conference evaluations completed by attendees and folders labeled \"Positive Responses\" document the overwhelming success of the conference. Of particular interest are exhibit components from the 1994 conference that include text labels and images of each participating poet. The photographs for these panels were taken by C. B. Claiborne. Copy 225 of 300 of Furious Flower: A Revolution in African American Poetry is located in box 2, folder 5. The magnesium letterpress die plates used to print this collection of poetry are also included here. Each plate is individually housed in a four-flap enclosure and then boxed in order of appearance in the publication. Of significance are the video recordings documenting conference proceedings and interviews with Black poets.","This series contains 45 video recordings captured by John L. Hodges during the 1994 Furious Flower Poetry Conference as well as interviews with poets.","Opening invocation and welcome to participants for the 1994 Furious Flower Conference at James Madison University. The Opening Session was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 8:30 a.m. This footage was originally recorded on 1 MII videocassette.","The Critics' Roundtable, \"African American Poetry and the Vernacular Matrix,\" was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 9:30 a.m.","Original 1994 Furious Flower Poetry Conference program reads, \"African American poetry, perhaps more so than fiction and drama, has lent and continues to lend itself to the thematic and formalistic expression of its matrixing in African American culture, in the vernacular (folk and popular) culture in particular. This roundtable will investigate the nature and extent of this matrixing. It will consider the relationship of the folk to the popular vernacular mode, whether \"continuity\" or \"disjuncture\" best describes that relationship and how the difference between the two is imprinted upon the literature. It will also consider the nature and validity of rural/urban, southern/northern distinctions as they apply to cultural expressive manifestations such as the blues, and the degree to which these distinctions spill over into the poetry as a literary production. (Alvin Aubert)\"","This footage was originally recorded on 3 MII videocassettes.","Michael S. Harper's Keynote speech at the 1994 Furious Flower Conference. The session continued with poetry readings by Elizabeth Alexander, Gerald Barrax, Toi Derricotte, and E. Ethelbert Miller. The Keynote Speech and Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, and Naomi Long Madgett at the 1994 Furious Flower Conference. The Poetry Reading was held at the Grafton-Stovall Theatre at James Madison University on Thursday, September 29, 1994 at 4:45 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Amiri Baraka, Mari Evans, Michael S. Harper, and Sonia Sanchez at the 1994 Furious Flower Conference. The JMU Jazz Ensemble opened the session by playing \"Cherry Juice.\" The Poetry Reading was held at Wilson Hall, James Madison University on Thursday, September 29, 1994 at  8 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Critical Theories and Approaches in African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Friday, September 30, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"The work of literary theory and of theorizing in other areas of the human sciences is to specify what conditions obtain among those who create, those who make use of creations, and the languages (or signs) that enable creators and consumers to negotiate in a world of social constructions. In short, theory is obligated to explain relations between people and artifacts in the contexts of history and culture. In that sense, theory is necessary for rigorous examination of African American poetry. How might theory advance the study and appreciation of African American poetry? Within the frame of this questions, scholars on the panel will be asked to address what kind of critical or cultural theory seems most appropriate for understanding poetry, how such theories influence interpretive methods and approaches, and how must theorists themselves grapple with their own historicity in light of African American poetry's evolution from orature to literature to newer genres that mix orality and literacy. The aim of the panel is to clarify some problems of theory and poetry as they affect various audiences (Jerry W. Ward, Jr.)\" ","This footage was originally recorded on 4 MII videocassettes.","Rita Dove and Gwendolyn Brooks' Keynote Speeches at the 1994 Furious Flower Conference. The Keynotes were held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 1 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by Dolores Kendrick, Nikki Giovanni, and Eugene Redmond at the 1994 Furious Flower Conference. The Poetry Reading was held at Wilson Hall, James Madison University on Friday, September 30, 1994 at 3 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Tribute Banquet to honor important black poets at the 1994 Furious Flower Conference. Mari Evans, Raymond Patterson, Margaret Walker, Naomi Long Madgett, Samuel W. Allen, Pinkie Gordon Lane, and Gwendolyn Brooks were the honored poets. The banquet was held at Phillips Hall, James Madison University on Friday, September 30, 1994 at 7 p.m. ","This footage was originally recorded on 2 MII videocassettes.","The Critics' Roundtable, \"Writing a Literary History of African American Poetry,\" was held at the Grafton-Stovall Theatre at James Madison University on Saturday, October 1, 1994 at 9:30 a.m. ","Original 1994 Furious Flower Poetry Conference program reads, \"As the drum stands at the crossroads of traditional African and African American culture, so the poets stand at the center of the drum providing the cadence, connections and continuity that define their literary history. Panelists on this roundtable will speak on periodicity and identify significant literary movements from the Harlem Renaissance through the Black Arts Movement to hip-hop. In an attempt to provide a valid historical framework for the poetry, panelists will discuss major literary milestones and important poets emerging during the twentieth century. (Eugene Redmond)\" ","This footage was originally recorded on 3 MII videocassettes.","Poetry Free Read at the 1994 Furious Flower Conference. The Free Read was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994. ","This footage was originally recorded on a MII videocassette.","Poetry Readings by Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, and Mona Lisa Saloy at the 1994 Furious Flower Conference. The Poetry Reading was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 2 p.m. ","This footage was originally recorded on 2 MII videocassettes.","Poetry Readings by The Dark Room Collective at the 1994 Furious Flower Conference. Established in Boston in 1988, The Dark Room Collective was first a reading series and later a small community of black poets and writers. The Dark Room Collective's poetry reading at the 1994 conference was held at Grafton-Stovall Theatre, James Madison University on Saturday, October 1, 1994 at 4:15 p.m. ","Tape 1 begins with the last 10 minutes of Poetry Reading 5 and The Dark Room Collective reading starts at the 12 minute mark. ","This footage was originally recorded on 2 MII videocassettes.","Conference Finale for the 1994 Furious Flower Conference. A celebration of black arts and culture, the conference finale featured musical and spoken word performances by Mellasenah Morris, the JMU Contemporary Gospel Singers, Val Gray Ward, and Bernice Johnson Reagon. The Conference Finale was held at Wilson Hall, James Madison University on Saturday, October 1, 1994 at 8 p.m. ","This footage was originally recorded on 6 MII videocassettes.","Supercuts of the 1994 Furious Flower Conference, featuring footage from all 3 days of the conference. This footage was originally recorded on 10 MII videocassettes.","Supercut 1/10 of the 1994 Furious Flower Conference, featuring selections from the conference opening session and Critics' Roundtable: African American Poetry and the Vernacular Matrix. ","This footage was originally recorded on a MII videocassette.","Supercut 2/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 1 (Elizabeth Alexander, Gerald Barrax; Toi Derricotte; and E. Ethelbert Miller) and Poetry Reading 2 (Sam Allen, Pinkie Gordon Lane, Haki Madhubuti, Naomi Long Madgett). ","This footage was originally recorded on a MII videocassette.","Supercut 3/10 of the 1994 Furious Flower Conference, featuring selections from Poetry Reading 2 (Naomi Long Madgett) and Poetry Reading 3 (Amiri Baraka, Mari Evans, Michael S. Harper, Sonia Sanchez). ","This footage was originally recorded on a MII videocassette.","Supercut 4/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Critical Theories and Approaches in African American Poetry and the keynote speeches by Rita Dove and Gwendolyn Brooks. ","This footage was originally recorded on a MII videocassette.","Supercut 5/10 of the 1994 Furious Flower Conference, featuring the remainder of  Gwendolyn Brooks' keynote speech and selections from Poetry Reading 4 (Dolores Kendrick, Nikki Giovanni, Eugene Redmond). ","This footage was originally recorded on a MII videocassette.","Supercut 6/10 of the 1994 Furious Flower Conference, featuring selections from the Tribute Banquet. ","This footage was originally recorded on a MII videocassette.","Supercut 7/10 of the 1994 Furious Flower Conference, featuring selections from Critics' Roundtable: Writing a Literary History of African American Poetry. ","This footage was originally recorded on a MII videocassette. ","Supercut 8/10 of the 1994 Furious Flower Conference, featuring selections from  Poetry Reading 5 (Jacqueline Brice-Finch, Gwen Butler, Kalamu ya Salaam, Jeannette Drake, Sybil Kein, Adam David Miller, Brenda Marie Osbey, Fabu Carter, Ester Iverem, Mona Lisa Saloy, and Quo Vadis Gex-Breaux). ","This footage was originally recorded on a MII videocassette.","Supercut 9/10 of the 1994 Furious Flower Conference, featuring selections from The Dark Room Collective: A Fisted Reading. ","This footage was originally recorded on a MII videocassette. ","Supercut 10/10 of the 1994 Furious Flower Conference, featuring selections from the Conference Finale. ","This footage was originally recorded on a MII videocassette. ","Audience footage of Poetry Reading 2 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Footage of posters, books, various artifacts, and exhibits at the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Critical Theories and Approaches in African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Critics' Roundtable: Writing a Literary History of African American Poetry from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Audience footage of Poetry Reading 5 from the 1994 Furious Flower Conference. This footage was originally recorded on a MII videocassette.","Interview with E. Ethelbert Miller at the 1994 Furious Flower Conference. Miller was interviewed by Eugenia Collier in this recording. This footage was originally recorded on MII videocassettes.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Eugene Redmond interviewed by Jabari Asim, Major Jackson interviewed by Vera Beatty, Dolores Kendrick  interviewed by Judith Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Gerald Barrax interviewed by Joyce Pettis and Nikki Giovanni interviewed by Virginia Fowler. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Major Jackson interviewed by Vera Beatty, Dolres Kendrick interviewed by Judith Thomas, Pinkie Gordon Lane interviewed by Sandra Govan, and Michael S. Harper interviewed by Aldon Nielsen. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Mari Evans interviewed by Val Gray Ward, Everett Hoagland interviewed by Kalamu ya Salaam, and Sonia Sanchez interviewed by Lorenzo Thomas. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sam Allen interviewed by Jerry Ward, Alvin Aubert interviewed by Lenard Moore, and Amiri Baraka interviewed by Askia Touré. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Sherley Anne Williams interviewed by Deborah McDowell. This footage was originally recorded on a MII videocassette.","Interviews with poets at the 1994 Furious Flower Conference. Featured in this video is Toi Derricotte interviewed by Opal Moore, Haki Madhubuti interviewed by Sonia Sanchez, and Naomi Long Madgett interviewed by Eleanor Traylor. This footage was originally recorded on a MII videocassette.","Arranged alphabetically.","Materials in this series primarily document the planning and implementation of the 2004 Furious Flower Poetry Conference: Regenerating the Black Poetic Tradition. Records include travel and lodging reservations, correspondence with participating poets, financial documentation and budgets, and mailing lists. Marketing and promotional items such as posters and brochures are included. During the 2004 conference, notable African American scholars including Tony Bolden, Hilary Holladay, and Monifa Love conducted interviews with presenting conference poets including Houston Baker, Rita Dove, and Tony Medina. The corresponding transcripts are included and are particularly significant to African American poetry scholarship. Of particular interest is congratulatory correspondence and RSVP regrets for the 2004 conference from Julian Bond, Governor Mark Warner, Senator George Allen, the office of President George W. Bush and Senator John Kerry, President and CEO of the NAACP Kweisi Mfume, and many others. Some of these letters were printed in the official conference program. Also of interest are evaluations completed by conference attendees. Six  silk banners used to decorate the Wilson Hall auditorium during the conference are included in this series. The banners are rolled onto dowels and housed in a rolled storage container. Currently, the silk banners may only be requested (in writing) by Furious Flower Poetry Center staff.","Opening Session and welcome to participants for the 2004 Furious Flower Conference at James Madison University. The first recording is a copy of the ten-minute documentary that was shown during the opening session and the second tape features performances and remarks from the session itself. The Opening Session was held at College Center at James Madison University on Thursday, September 23, 2004 at 8:30 a.m.","This footage was originally recorded on 1 MDV and 1 DVCAM videocassettes.","The first Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Trudier Harris moderated the session while Maryemma Graham, Hilary Holladay, and Tony Bolden critically discussed turn of the twentieth century poetry, The Black Arts Movement, and modern Black poetry. The session was held at College Center Ballroom at James Madison University on Thursday, September 23, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Footage of the luncheon hosted by the George Moses Horton Society at the 2004 Furious Flower Conference. The 2004 Furious Flower Poetry Conference program reads, \"Members of the George Moses Horton Society, based at the University of North Carolina, Chapel Hill, will host a luncheon on Thursday, September 23. The Horton Society was concieved by Trudier Harris in the spring of 1996 as a way to encourage sustained scholarly focus on the works of African American poets and to foster presentation and publishing opportunities for that scholarship. Yusef Komunyakaa and T.J. Anderson are the featured speakers.\" This footage only shows a portion of the presentation by T.J. Anderson and Yusef Komunyakaa before cutting off abruptly. The luncheon was held in the College Center Ballroom, James Madison University on Thursday, September 23, 2004 at 11:45 a.m. ","This footage was originally recorded on 1 DVCAM videocassette.","Keynote Speech and Poetry Reading 1 at the 2004 Furious Flower Conference. Houston A. Baker Jr. gave his keynote speech entitled, \"The Poetry of Impulse: Six Inches of African Stone and Lyrical Black Consciousness\" after an introduction by Trudier Harris. The session continued a presentation of the Furious Flower Lifetime Achievement Award to Houston A. Baker Jr. by Jerry W. Ward Jr. and Joanne Gabbin. Susan Facknitz introduced the next segment, a poetry reading with Jabari Asim, Major Jackson, Tony Medina, Opal Moore, Sharan Strange, and Yusef Komunyakaa. The Keynote Speech and Poetry Reading 1 was held at Wilson Hall Auditorium, James Madison University on Friday, September 23, 1994 at 1:15 p.m.","This footage was originally recorded on 2 DVCAM videocassettes. ","Footage of Concurrent Sessions and the Furious Flower Art Opening Reception at the 2004 Furious Flower Conference. The first half of the footage shows snippets of concurrent sessions held in various rooms in Taylor Hall from 4:30-5:45pm on Thursday, September 23, 2004. The second half of the footage features the art opening reception, about which the original 2004 Furious Flower Poetry Conference program states, \"Commissioned to bring visual attention to the work of African American poets and symbolizing the flowering of African American poetry, this important and original work of art by Atlanta artist Malaika Favorite will be unveiled.\" The reception was held in Taylor Hall Room 405 at James Madison University on Thursday, September 23, 2004 at 6:45 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Poetry Reading 2 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Brenda Marie Osbey, Kevin Young, E. Ethelbert Miller, Haki Madhubuti, Lucille Clifton, and Nikki Giovanni.  Kalamu ya Salaam introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Thursday, September 23, 2004 at 8 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","The second Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Daryl C. Dance moderated the session while Velma Pollard, Mark Sanders, Eleanor Traylor, and Omékongo Dibinga presented about the topic cross pollination in the African diaspora. The session was held at College Center Ballroom at James Madison University on Friday, September 24, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Laureate's Circle poetry reading at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Eugene Redmond, Dolores Kendrick, Askia Touré, Rita Dove, Amiri Baraka, and Sonia Sanchez. Joanne Gabbin introduced the poets at the beginning of the session. The Laureate's Circle reading was held in Wilson Hall Auditorium, James Madison University on Friday, September 24, 2004 at 1:30 p.m. ","This footage was originally recorded on 3 VHS videocassettes.","Poetry Reading 3 at the 2004 Furious Flower Conference. This reading featured the following prominent Black poets: Harryette Mullen, Alvin Aubert, Nikky Finney, Everett Hoagland, jessica Care moore, and Kalamu ya Salaam. Tony Medina introduced the poets at the beginning of the session. The Poetry Reading was held in Wilson Hall Auditorium at James Madison University on Friday, September 24, 2004 at 3:30 p.m. This footage was originally recorded on 2 VHS videocassettes.","Tribute Banquet for the 2004 Furious Flower Conference at James Madison University. Furious Flower Lifetime Achievement Awards were presented to the following poets: Alvin Aubert, Amiri Baraka, Lucille Clifton, Nikki Giovanni, Haki Madhubuti, Velma Pollard, Eugene Redmond, Sonia Sanchez, and Askia Touré. The event also featured music by D.J. Renegade and the following as presenters: Melba Boyd, William \"Billy Joe\" Harris, Hilary Holladay, Sandra Govan, Quraysh Ali Lansana, Daryl Dance, Howard Rambsy, Lamont Steptoe, and Eleanor Traylor. The banquet was held in the College Center Ballroom, James Madison University on Friday, September 24, 2004 at 7:30 p.m. ","This footage was originally recorded on 4 DVCAM videocassettes.  ","Poetry Jam event at the 2004 Furious Flower Poetry Conference at James Madison University. The original 2004 Furious Flower Poetry Conference program reads, \"Outstanding poets read and perform their work. Music will be provided by the Joel Dias-Porter Quartet. Porter, aka D.J. Renegade, will emcee the event on Friday, September 24 at 10:30 p.m.\" Participants included Joel Dias-Porter, Quo Vadis Gex Breaux, Mona Lisa Saloy, Lenard Moore, Angela Shannon, Lamont Steptoe, and Samantha Thornhill. The event was held at College Center Ballroom, James Madison University on Friday, September 24, 2004 at 10:30 p.m. ","This footage was originally recorded on 1 DVCAM videocassette.","The third Critics' Roundtable of the 2004 Furious Flower Conference at James Madison University. Opal Moore moderated the session while E. Ethelbert Miller, Toi Derricotte, Kelli Norman Ellis, and Sharan Strange discussed the need for MFA writing programs at historically Black colleges and universities, the development of Cave Canem, Chicago State University's MFA writing program, and the history of the Dark Room Collective. The session was held at Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 9:30 a.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Luncheon and Open Mic event at the 2004 Furious Flower Conference at James Madison University. The footage begins with the presentation segments of the Cave Canem luncheon before switching to the Open Mic event. Tyehimba Jess was the Emcee for the Open Mic Reading and many poets read their poetry. The luncheon was held in the Phillips Center Ballroom, James Madison University on Saturday, September 25, 2004 at 12:00 p.m. and the Open Mic Reading was held in Grafton Stovall Theater,  at 1:30 p.m. ","This footage was originally recorded on 3 DVCAM videocassettes.","Cave Canem Reunion Reading at the 2004 Furious Flower Conference at James Madision University. The footage begins with a circle jam poetry reading before switching to the Cave Canem Reading. Cornelius Eady, Marilyn Nelson, Kwame Dawes, Elizabeth Alexander, and Toi Derricotte each read their poetry as part of this event. The reading was held in Grafton Stovall Theater, James Madison University on Saturday, September 25, 2004 at 3:30 p.m. ","This footage was originally recorded on 2 DVCAM videocassettes.","Conference Finale for the 2004 Furious Flower Conference. The event featured two musical groups: \"Fertile Ground\" a soul and jazz band from Baltimore, Maryland and \"The Full Moon of Sonia\" which sets Sonia Sanchez's poetry to music. The Conference Finale was held at Wilson Hall Auditorium, James Madison University on Saturday, September 25, 2004 at 8 p.m. ","This footage was originally recorded on 2 videocassettes.","Lifetime Achievement Award Banquet for the 2024 Furious Flower Conference at James Madison University. jessica Care moore and Tony Medina hosted the banquet and David Berry provided the music. Furious Flower Lifetime Achievement Awards were presented to the following poets: Elizabeth Alexander, Kwame Dawes, Cornelius Eady, Nikky Finney, Lorna Goodison, E. Ethelbert Miller, Harryette Mullen, Niyi Osundare, Timothy Seibles, and Patricia Smith. The banquet was held in the Festival Ballroom at James Madison University on Wednesday, September 18, 2024 at 6 p.m.","Opening session and welcome to the participants for the 2024 Furious Flower Conference at James Madison University. A video introduction featuring Afaa M. Weaver opened the session, followed by an in memoriam slideshow. Lauren Alleyne presented an overview of the Furious Flower Poetry Center's work since the 2014 conference. Traci Zimmerman, the Dean of the College of Arts and Letters Dean and interim-Provost, Bob Kolvoord made remarks, and Bethany Nowviskie, Dean of JMU Libraries, gave a presentation about the Mellon Foundation grant partnership between Furious Flower and JMU Libraries. The Opening Session was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 8:15 a.m.","Keynote Reading and Conversation with honored poets, Elizabeth Alexander \u0026 Kwame Dawes, at the 2024 Furious Flower Conference. Alexander and Dawes read poetry and engaged in discussion with Shara McCallum and Terrance Hayes. The Keynote Reading and Conversation was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 9:15 a.m.","The Worlds of Black Poetry: Critical Portals, Pathways, and Emergences panel at the 2024 Furious Flower Conference at James Madison University.  Keith Leonard, Jahan Ramazani, Evie Shockley, and Mecca Jamilah Sullivan each presented a paper showcasing the depth and breath of the worlds of Black poetry. Topics of discussion included: avant-garde poetry, elegy and Caribbean poetry, Black confessional poetry, Black feminism, and Black queer poetics. This panel was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 11:15 a.m.","A Decade of Poetic Experiment: 2014 to 2024 panel at the 2024 Furious Flower Conference at James Madison University. Aldon Lynn Nielsen, C.S. Giscombe, Meta DuEwa Jones, Mark McMorris, Duriel E. Harris, and Douglas Kearney engaged in a round table discussion about the past decade in Black poetry. Experimentation by poets and critics is of particular focus during this panel. This discussion was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 2 p.m.","Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading at the 2024 Furious Flower Conference. Winner, Michelle Alexander, Honorable Mention, Raejeana Brooks, and judge, Roger Reeves, read poetry and answered questions from the audience. The Furious Flower Poetry Prize Winner \u0026 Honorable Mention Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 3:30 p.m.","Black Universe I: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Rita Dove, Jericho Brown, Camille T. Dungy, Alexis Pauline Gumbs, Malika Booker, Patricia Jabbeh Wesley, Tyehimba Jess, Remica Bingham-Risher, Matthew Shenoda, Lillian-Yvonne Bertram, Cornelius Eady, Frank X. Walker, and Nikky Finney. The Black Universe I: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Thursday, September 19, 2024 at 7 p.m.","Dear Yusef: Celebrating the Life \u0026 Work of Poet \u0026 Professor Yusef Komunyakaa panel at the 2024 Furious Flower Conference. Lynne Thompson, Joel Dias-Porter, Linda Susan Jackson, and Dante Micheaux discussed a new anthology entitled \"Dear Yusef.\" Panelists also shared their personal experiences working with Yusef Kumanyaka and read poetry from the anthology. The session closed with the presenters answering audience questions. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 8:15 a.m.","Walk With Me: Freedom Fighter's Homage presentation and performance at the 2024 Furious Flower Conference. The session featured a discussion, live performances, and answering questions from the audience. The performance itself examined the long road to freedom for Black people in America and included song, spoken word poetry, and dance. This session was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 9:45 a.m.","Laureate Reading and Conversation at the 2024 Furious Flower Conference. Rita Dove, Poet Laureate of the United States, 1993-1995, introduced poet laureates from across the country and moderated a conversation after the readings. Featured poets included: Angela Jackson (Illinois), Curtis Crisler (Indiana), Amanda Johnston (Texas), avery r. young (Chicago, IL), and Glenis Redmond (Greenville, SC).  The Laureate Reading and Conversation was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 11:15 a.m.","Magnitude \u0026 Bond: A Preview of a Field Study on Black Literary Organizations panel at the 2024 Furious Flower Conference. Lisa Willis, Candace G. Wiley, Nichelle M. Hayes, and Duriel E. Harris discussed the Magnitude and Bond field study. The presenters represented four organizations that are participating in the field study: Cave Canem, The Watering Hole, Center for Black Literature \u0026 Culture (CBLC), and Obsidian: Literature \u0026 Arts in the African Diaspora. The group conversed about why the field study is important, positives and negatives they have experienced as leaders of Black literary arts organizations, and how organizations were chosen for the field study. The session closed with a questions from the audience. This panel was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 2 p.m.","Black Universe II: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Ross Gay, Erica Hunt, francine j. harris, Roger Reeves, DaMaris Hill, Efe Paul Azino, Merle Collins, Danez Smith, Tara Betts, A. B. Spellman, Lorna Goodison, E. Ethelbert Miller, and Harryette Mullen. The Black Universe II: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Friday, September 20, 2024 at 7 p.m.","Growing a New Garden: Furious Flowering in Classrooms panel at the 2024 Furious Flower Conference. Panelists Anastacia-Reneé, allia abdullah-matta, Brian Hannon, Carmin Wong, and Keisha-Gaye Anderson discussed the Furious Flower Syllabus project, an open access syllabus for a range of educational contexts. Each presenter highlighted their favorite poem featured in the project curriculum, conversed about creating the syllabus, and expressed the importance of such an undertaking. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 8:15 a.m.","Black Universe III: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Kei Miller, Shara McCallum, Tim Seibles, Anastacia Renée, Gregory Pardlo. Joanne Gabbin introduced each poet with a personally written haiku. The Black Universe III: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 9:45 a.m.","Black Joy in Song performance at the 2024 Furious Flower Conference. Sonya Gabrielle Baker, Albert Lee, and Jeremiah Padilla performed poetry set to music, incorporating both vocal and instrumental music. This performance was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 12:30 p.m.","A Vital History: The Cambridge Anthology Roundtable at the 2024 Furious Flower Conference. Panelists Matt Sandler, Carlyn Ferrari, Marta Werbanowska, McKinley Melton, Annette Debo, and Emily Ruth Rutter discussed an upcoming anthology. Each panelist described their essay from the anthology, including topics such as Black poets of the abolition movement, Black women poets, the Black eco-poetic tradition, elegy, and more. The session concluded with a panel discussion and audience questions. This panel was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 2 p.m.","Black Universe IV: Featured Poets Reading at the 2024 Furious Flower Conference. This reading featured the following prominent Black poets from across the world: Terrance Hayes, Evie Shockley, Niyi Osundare, Canisia Lubrin, Patricia Smith, and Kwame Dawes. Lauren Alleyne closed the session by reading a new poem. The Black Universe IV: Featured Poets Reading was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 3:30 p.m.","Closing Remarks for the 2024 Furious Flower Conference. Lauren Alleyne, the Executive Director of the Furious Flower Poetry Center, concluded the conference by expressing gratitude for everyone involved with the event in some way. This event was held in the Festival Ballroom at James Madison University on Saturday, September 21, 2024 at 5 p.m.","Interview with Camille Dungy, Ross Gay, Alexis Pauline Gumbs, and Niyi Osundare at the 2024 Furious Flower conference. Nate Marshall moderated the conversation, posing questions about the theme Black planet. The group discussed the relationship between Black identity and the environment, how crafting poetry allows them to explore new relationships with the natural world, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Erica Hunt, A.B. Spellman, and Glenis Redmond at the 2024 Furious Flower Conference. Keisha-Gaye Anderson moderated the conversation, posing questions about the theme life in poetry. The group discussed why they chose poetry, pivotal moments in their careers, the role of community and collaboration in their development as poets, advice for emerging poets, lessons learned, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Malika Booker, Danez Smith, and Frank X. Walker at the 2024 Furious Flower Conference. Keith Leonard moderated the conversation, posing questions about the theme collectives and community. The group discussed why it is important to be involved in their respective communities or collectives, the importance of inter-generational connections, and what the worlds of Black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Thursday, September 19, 2024.","Interview with Anastacia Renée, Canisia Lubrin, and Lillian Yvonne Bertram at the 2024 Furious Flower conference. Mecca Jamilah Sullivan moderated the conversation, posing questions about the theme poetic experimentation. The group discussed what poetic experimentation means to them, the experience of experimentation, what is lost when discussing the process of experimentation, and what the worlds of black poetry mean to them. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Evie Shockley, Remica Bingham-Risher, Terrance Hayes, and DaMaris Hill at the 2024 Furious Flower Conference. Meta DuEwa Jones moderated the conversation, posing questions about the theme creative scholarship. The group discussed what scholarship means to them, how the market does or does not affect their work, their collaborative practices, the worlds of black poetry as they relate to their scholarly, creative, and critical work, and finding joy in their work. The interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Matthew Shenoda, Efe Paul Azino, and Patricia Jabbeh Wesley at the 2024 Furious Flower Conference. Gbenga Adesina moderated the conversation, posing questions about the theme continental conversations. The group discussed diasporic influences, how their work may shape poetry moving forward, and the books or projects they currently working on. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tara Betts, avery r. young, Danez Smith, and Mahogany L. Browne  at the 2024 Furious Flower Conference. McKinley Melton moderated the conversation, posing questions about the theme performance. The group discussed what the worlds of Black poetry mean to them, how they see their work engaging in the expansiveness of poetic performance, the best lessons they have learned from their time as poets and performers, and what it means to be at Furious Flower. This interview was recorded in the Festival Conference and Student Center at James Madison University on Friday, September 20, 2024.","Interview with Tyehimba Jess, francine j. harris, jessica Care moore and Airea D. Matthews at the 2024 Furious Flower conference. Ajanaé Dawkins moderated the conversation, posing questions about the theme Detroit conversations. Each poet read one of their poems, discussed how the school of Detroit poetry shaped them, and talked about the evolution of Detroit poetry. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Lorna Goodison, Merle Collins, Kei Miller, and Malika Booker at the 2024 Furious Flower conference. Jahan Ramazani moderated the conversation, posing questions about the theme Caribbean conversations. The group discussed Caribbean identity, diasporic identity, the distinctiveness of the Caribbean experience, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024.","Interview with Roger Reeves, Jericho Brown, and Gregory Pardlo at the 2024 Furious Flower conference. Curtis Crisler moderated the conversation, posing questions about the theme Black masculinity. The group discussed their definitions of Black masculinity, how they show vulnerability in their poetry, and what the worlds of Black poetry mean to them. This interview was recorded in the Festival Conference and Student Center at James Madison University on Saturday, September 21, 2024."],"separatedmaterial_html_tesm":["\u003cp\u003eA copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. \u003c/p\u003e\n","\u003cp\u003eThe following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.\u003c/p\u003e\n","\u003cp\u003eA broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately.\u003c/p\u003e"],"separatedmaterial_heading_ssm":["Separated Materials"],"separatedmaterial_tesim":["A copy of Mourning Katrina: A Poetic Response to Tragedy Buena Vista, Va.: Mariner Publishing, 2009 and 73 Poems for 73 Years: Celebrating the Life of Lucille Clifton Harrisonburg, Va.: Virginia Tech Printing Services, 2010 were removed from Series 2, catalogued, and placed in the Special Collections rare book collection. ","The following titles were removed from Series 3 and catalogued: Opala, Joseph A. The Gullah: rice, slavery and the Sierra Leone-American connection. Freetown, Sierra Leone: USIS, 1987; Opala, Joseph. Krio in a nutshell.: Krio Grammar with Lessons, Exercise and Vocabulary, Vol. 1. Freetown, Sierra Leone: [publisher not identified], 1991; Opala, Joseph. Krio in a nutshell.: Krio Conversation with Dialogues, Stories, Proverbs, etc., Vol. 2. Freetown, Sierra Leone: [publisher not identified], 1991; Geraty, Virginia Mixson. Bittle en' t'ing': Gullah cooking with Maum Chrish'. Orangeburg, S.C.: Sandlapper Pub., 1992.","A broadside printing of Rita Dove's \"Ode to My Right Knee\" (no. 39 of 100) was removed from the collection and cataloged separately."],"userestrict_html_tesm":["\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e","\u003cp\u003eCopyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).\u003c/p\u003e"],"userestrict_heading_ssm":["Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions","Use Restrictions"],"userestrict_tesim":["Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. For more information, contact the Special Collections Library Reference Desk (library-special@jmu.edu).","Copyright for official University records is held by James Madison University; all other copyright is retained by the authors of items in these papers, or their descendants, as stipulated by United States copyright law. 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Neal Papers","No special access restriction applies.","Papers of West Virginia University, School of Medicine faculty member Dr. William A. Neal and the Neal family of West Virginia. Includes correspondence, photographs, awards, clippings, military service record, etc. documenting his career. Also includes papers regarding Neal's father and paternal uncles, and mother. There are papers of his grandfather William Elmer Neal (1875-1969) who was a physician, mayor of Huntington, WV (1925-1928), and who served in the WV House of Delegates (1949-1951) and U.S. House of Representatives (1952-1954; 1956-1958). There are letters of Leonard B. Neal (1878-1900) and material regarding Susan Witten Neal (1888-1961), who was one of the first female graduates of Marshall College.  Finally, there are research papers and manuscript materials for William A. Neal's book on Edward J. Van Liere, who was an advocate for medical education in West Virginia.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Neal family","Neal, William A.","Van Liere, Edward J., 1895-1979","English \n.    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(8 document cases, 5 in. each); (2 document cases, 2 1/2 in. each) (2 flat storage boxes, 3 in. each)"],"extent_tesim":["4.25 Linear Feet 4 ft. 3 in. (8 document cases, 5 in. each); (2 document cases, 2 1/2 in. each) (2 flat storage boxes, 3 in. each)"],"date_range_isim":[1880,1881,1882,1883,1884,1885,1886,1887,1888,1889,1890,1891,1892,1893,1894,1895,1896,1897,1898,1899,1900,1901,1902,1903,1904,1905,1906,1907,1908,1909,1910,1911,1912,1913,1914,1915,1916,1917,1918,1919,1920,1921,1922,1923,1924,1925,1926,1927,1928,1929,1930,1931,1932,1933,1934,1935,1936,1937,1938,1939,1940,1941,1942,1943,1944,1945,1946,1947,1948,1949,1950,1951,1952,1953,1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies."],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Dr. William A. Neal Papers, A\u0026amp;M 4481, 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], Dr. William A. Neal Papers, A\u0026M 4481, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003ePapers of West Virginia University, School of Medicine faculty member Dr. William A. Neal and the Neal family of West Virginia. Includes correspondence, photographs, awards, clippings, military service record, etc. documenting his career. Also includes papers regarding Neal's father and paternal uncles, and mother. There are papers of his grandfather William Elmer Neal (1875-1969) who was a physician, mayor of Huntington, WV (1925-1928), and who served in the WV House of Delegates (1949-1951) and U.S. House of Representatives (1952-1954; 1956-1958). There are letters of Leonard B. Neal (1878-1900) and material regarding Susan Witten Neal (1888-1961), who was one of the first female graduates of Marshall College.  Finally, there are research papers and manuscript materials for William A. Neal's book on Edward J. Van Liere, who was an advocate for medical education in West Virginia.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents"],"scopecontent_tesim":["Papers of West Virginia University, School of Medicine faculty member Dr. William A. Neal and the Neal family of West Virginia. Includes correspondence, photographs, awards, clippings, military service record, etc. documenting his career. Also includes papers regarding Neal's father and paternal uncles, and mother. There are papers of his grandfather William Elmer Neal (1875-1969) who was a physician, mayor of Huntington, WV (1925-1928), and who served in the WV House of Delegates (1949-1951) and U.S. House of Representatives (1952-1954; 1956-1958). There are letters of Leonard B. Neal (1878-1900) and material regarding Susan Witten Neal (1888-1961), who was one of the first female graduates of Marshall College.  Finally, there are research papers and manuscript materials for William A. Neal's book on Edward J. Van Liere, who was an advocate for medical education in West Virginia."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_e31e8921af0e3a89ba5af3cf30072f73\"\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. 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General WVU Papers"],"parent_unittitles_tesim":["Arthur Jacknowitz Faculty Papers","Series 4. General WVU Papers"],"text":["Arthur Jacknowitz Faculty Papers","Series 4. General WVU Papers","WVU Committee of Retired Faculty","Box 8","Folder 3"],"title_filing_ssi":"WVU Committee of Retired Faculty","title_ssm":["WVU Committee of Retired Faculty"],"title_tesim":["WVU Committee of Retired Faculty"],"unitdate_inclusive_ssm":["2011-2018"],"normalized_date_ssm":["2011/2018"],"normalized_title_ssm":["WVU Committee of Retired Faculty"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Arthur Jacknowitz Faculty Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":116,"parent_access_restrict_tesm":["Box 2, folder 19, closed for 75 years due to student records."],"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":[2011,2012,2013,2014,2015,2016,2017,2018],"containers_ssim":["Box 8","Folder 3"],"_nest_path_":"/components#3/components#2","timestamp":"2026-05-21T01:04:04.801Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_7060","ead_ssi":"wvmturhc_repositories_2_resources_7060","_root_":"wvmturhc_repositories_2_resources_7060","_nest_parent_":"wvmturhc_repositories_2_resources_7060","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_7060.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/255453","title_ssm":["Arthur Jacknowitz Faculty Papers"],"title_tesim":["Arthur Jacknowitz Faculty Papers"],"unitdate_ssm":["1954-2019"],"unitdate_inclusive_ssm":["1954-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4660","Archival Resource Key","/repositories/2/resources/7060"],"text":["A\u0026M 4660","Archival Resource Key","/repositories/2/resources/7060","Arthur Jacknowitz Faculty Papers","Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists","Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records.","Dr. Arthur Jacknowitz (1944-2019), a native of Brooklyn, New York, joined the West Virginia University School of Pharmacy in 1974. 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In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.","Jacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.","Jacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the  US Pharmacist,  a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the  Drug Information Journal.  He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.","Adapted from the following article:","(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. ","The creator's original folder titles were preserved while processessing this collection.","This collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. ","The collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.","The collection is organized into six series.","Series include:","Series 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","Series 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. ","Series 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","Series 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","Series 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Series 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)","This series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","This series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.","This series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","This series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","This series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. School of Pharmacy","Jacknowitz, Linda","Jacknowitz, Arthur I.","English \n.    "],"unitid_tesim":["A\u0026M 4660","Archival Resource Key","/repositories/2/resources/7060"],"normalized_title_ssm":["Arthur Jacknowitz Faculty Papers"],"collection_title_tesim":["Arthur Jacknowitz Faculty Papers"],"collection_ssim":["Arthur Jacknowitz Faculty Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"creator_ssim":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"creator_persname_ssim":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"creators_ssim":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"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 Linda Jacknowitz, June 10, 2020."],"access_subjects_ssim":["Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists"],"access_subjects_ssm":["Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists"],"has_online_content_ssim":["false"],"extent_ssm":["12.75 Linear Feet 12 ft. 9 in. (10 record cartons, 15 in. each); (1 flat storage box, 3 in.)"],"extent_tesim":["12.75 Linear Feet 12 ft. 9 in. (10 record cartons, 15 in. each); (1 flat storage box, 3 in.)"],"date_range_isim":[1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eBox 2, folder 19, closed for 75 years due to student records.\u003c/p\u003e","\u003cp\u003eBox 2, folder 19, closed for 75 years due to student records.\u003c/p\u003e","\u003cp\u003eBox 2, folder 19, closed for 75 years due to student records.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Box 1 Folder 19 - closed for 75 years","Conditions Governing Access"],"accessrestrict_tesim":["Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records."],"bioghist_html_tesm":["\u003cp\u003eDr. Arthur Jacknowitz (1944-2019), a native of Brooklyn, New York, joined the West Virginia University School of Pharmacy in 1974. He was chair of the Department of Clinical Pharmacy for almost 16 years, from 1985-2001. Prior to this, he was director of the University's Drug Information Center. In 1988 his efforts to disseminate drug information to consumers and health professionals won him the University's Heebink Award for Outstanding State Service.\u003c/p\u003e\n","\u003cp\u003eIn 2001, to recognize his more than a quarter of a century of teaching, scholarship and service, a former student endowed a Distinguished Chair in his honor - Jacknowitz was named its first occupant.\u003c/p\u003e\n","\u003cp\u003eIn 2004, the WVU School of Pharmacy Alumni Association conferred honorary alumnus status on him. That same year, he was named WVU's Most Loyal Faculty Mountaineer. \u003c/p\u003e\n","\u003cp\u003eJacknowitz was an academic advisor to more than 260 pre-pharmacy and pharmacy honors students. In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.\u003c/p\u003e\n","\u003cp\u003eJacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.\u003c/p\u003e\n","\u003cp\u003eJacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the \u003ctitle\u003eUS Pharmacist,\u003c/title\u003e a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the \u003ctitle\u003eDrug Information Journal.\u003c/title\u003e He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.\u003c/p\u003e\n","\u003cp\u003eAdapted from the following article:\u003c/p\u003e\n","\u003cp\u003e(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. \u003ca href=\"https://medicine.hsc.wvu.edu/News/Story?headline=sop-professor-emeritus-loyal-wvu-supporter-passes-away\"\u003e\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Dr. Arthur Jacknowitz (1944-2019), a native of Brooklyn, New York, joined the West Virginia University School of Pharmacy in 1974. He was chair of the Department of Clinical Pharmacy for almost 16 years, from 1985-2001. Prior to this, he was director of the University's Drug Information Center. In 1988 his efforts to disseminate drug information to consumers and health professionals won him the University's Heebink Award for Outstanding State Service.","In 2001, to recognize his more than a quarter of a century of teaching, scholarship and service, a former student endowed a Distinguished Chair in his honor - Jacknowitz was named its first occupant.","In 2004, the WVU School of Pharmacy Alumni Association conferred honorary alumnus status on him. That same year, he was named WVU's Most Loyal Faculty Mountaineer. ","Jacknowitz was an academic advisor to more than 260 pre-pharmacy and pharmacy honors students. In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.","Jacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.","Jacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the  US Pharmacist,  a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the  Drug Information Journal.  He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.","Adapted from the following article:","(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Arthur Jacknowitz Faculty Papers, A\u0026amp;M 4660, 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], Arthur Jacknowitz Faculty Papers, A\u0026M 4660, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe creator's original folder titles were preserved while processessing this collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The creator's original folder titles were preserved while processessing this collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. \u003c/p\u003e\n","\u003cp\u003eThe collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.\u003c/p\u003e\n","\u003cp\u003eThe collection is organized into six series.\u003c/p\u003e\n","\u003cp\u003eSeries include:\u003c/p\u003e\n","\u003cp\u003eSeries 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.\u003c/p\u003e\n","\u003cp\u003eSeries 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. \u003c/p\u003e\n","\u003cp\u003eSeries 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.\u003c/p\u003e\n","\u003cp\u003eSeries 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.\u003c/p\u003e\n","\u003cp\u003eSeries 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including \u003ctitle\u003ePharmacy Times\u003c/title\u003e and \u003ctitle\u003eU.S. Pharmacist Hospital Edition\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eSeries 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)\u003c/p\u003e","\u003cp\u003eThis series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.\u003c/p\u003e","\u003cp\u003eThis series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.\u003c/p\u003e","\u003cp\u003eThis series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.\u003c/p\u003e","\u003cp\u003eThis series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.\u003c/p\u003e","\u003cp\u003eThis series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including \u003ctitle\u003ePharmacy Times\u003c/title\u003e and \u003ctitle\u003eU.S. Pharmacist Hospital Edition\u003c/title\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. ","The collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.","The collection is organized into six series.","Series include:","Series 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","Series 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. ","Series 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","Series 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","Series 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Series 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)","This series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","This series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.","This series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","This series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","This series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition ."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_b06ecd2c502fe6d9e994dd6cc4077a88\"\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. School of Pharmacy","Jacknowitz, Linda"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. School of Pharmacy","Jacknowitz, Linda","Jacknowitz, Arthur I."],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. School of Pharmacy"],"persname_ssim":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":131,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T01:04:04.801Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_7060_c04_c03"}},{"id":"wvmturhc_repositories_2_resources_7045_c01_c19","type":"File","attributes":{"title":"WVU - Creative Arts Center - Exhibit Catalogs","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_7045_c01_c19#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_7045_c01_c19","ref_ssm":["wvmturhc_repositories_2_resources_7045_c01_c19"],"id":"wvmturhc_repositories_2_resources_7045_c01_c19","ead_ssi":"wvmturhc_repositories_2_resources_7045","_root_":"wvmturhc_repositories_2_resources_7045","_nest_parent_":"wvmturhc_repositories_2_resources_7045_c01","parent_ssi":"wvmturhc_repositories_2_resources_7045_c01","parent_ssim":["wvmturhc_repositories_2_resources_7045","wvmturhc_repositories_2_resources_7045_c01"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_7045","wvmturhc_repositories_2_resources_7045_c01"],"parent_unittitles_ssm":["Sally Jane Brown, Artist, Collection","Series 1. Exhibitions and Programs"],"parent_unittitles_tesim":["Sally Jane Brown, Artist, Collection","Series 1. Exhibitions and Programs"],"text":["Sally Jane Brown, Artist, Collection","Series 1. Exhibitions and Programs","WVU - Creative Arts Center - Exhibit Catalogs","Box 3","Folder 3"],"title_filing_ssi":"WVU - Creative Arts Center - Exhibit Catalogs","title_ssm":["WVU - Creative Arts Center - Exhibit Catalogs"],"title_tesim":["WVU - Creative Arts Center - Exhibit Catalogs"],"unitdate_inclusive_ssm":["2004-2017 and undated"],"normalized_date_ssm":["2004/2017"],"normalized_title_ssm":["WVU - Creative Arts Center - Exhibit Catalogs"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Sally Jane Brown, Artist, Collection"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":20,"parent_access_restrict_tesm":["No special access restriction applies."],"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":[2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017],"containers_ssim":["Box 3","Folder 3"],"_nest_path_":"/components#0/components#18","timestamp":"2026-06-04T15:06:42.135Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_7045","ead_ssi":"wvmturhc_repositories_2_resources_7045","_root_":"wvmturhc_repositories_2_resources_7045","_nest_parent_":"wvmturhc_repositories_2_resources_7045","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_7045.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/253938","title_ssm":["Sally Jane Brown, Artist, Collection"],"title_tesim":["Sally Jane Brown, Artist, Collection"],"unitdate_ssm":["1959-2023 and undated","2013-2020"],"unitdate_bulk_ssim":["2013-2020"],"unitdate_inclusive_ssm":["1959-2023 and undated"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 5285","Archival Resource Key","/repositories/2/resources/7045"],"text":["A\u0026M 5285","Archival Resource Key","/repositories/2/resources/7045","Sally Jane Brown, Artist, Collection","West Virginia Feminist Activist and Women's History Collection","Women and the arts","Art, American -- 20th century -- Exhibitions","Art, American -- 21st century -- Exhibitions","No special access restriction applies.","Sally Brown (formerly Deskins) is an artist, curator and writer currently based in Morgantown, West Virginia. Her artwork—including drawing, painting, and performance—explores womanhood, motherhood, and the body.","Sally has exhibited her work in spaces nationally and in the United Kingdom. She has won two awards for illustration for  Intimates and Fools  and  Leaves of Absence , both with poetry by Laura Madeline Wiseman. Her writing has been published in  Hyperallergic ,  Women's Art Journal , and  Artslant , among others. She has curated group shows in Omaha, Nashville, Pittsburgh, and Morgantown.","Sally holds a Bachelor of Arts-Studio Art, a Master of Public Administration, and Master of Arts-Art History and Feminist Theory. She is a member of the College Art Association National Committee on Women in the Arts, edited the online journal  Les Femmes Folles , and currently serves as Curator for West Virginia University Libraries, art editor for  Thimble Literary Magazine , and contributing writer to Borshch of Art  Discover Database . Born in Oregon, she spent most of her upbringing in Omaha, Nebraska, and currently lives in Morgantown with her two children and her cat, Chalupa.","\nBiographical / Historical Note From: ","Brown, S. (n.d.).  About . Sally Jane Brown. https://sallyjanebrown.com/about. ","Sally Jane Brown formerly went by \"Sally Brown Deskins\". This biographical note is accurate as of 2025 January. ","This collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:","Series 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01","Series 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.","This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not.  Box 3 contains an addendum of 2024/12/01","This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.","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.","This collection contains materials collected or created by Sally Jane Brown, a feminist artist, in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia.","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","Brown, Sally Jane","English \n.    "],"unitid_tesim":["A\u0026M 5285","Archival Resource Key","/repositories/2/resources/7045"],"normalized_title_ssm":["Sally Jane Brown, Artist, Collection"],"collection_title_tesim":["Sally Jane Brown, Artist, Collection"],"collection_ssim":["Sally Jane Brown, Artist, Collection"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Brown, Sally Jane","Brown, Sally Jane"],"creator_ssim":["Brown, Sally Jane","Brown, Sally Jane"],"creator_persname_ssim":["Brown, Sally Jane","Brown, Sally Jane"],"creators_ssim":["Brown, Sally Jane","Brown, Sally Jane"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Brown, Sally Jane, 2022 October 10","Gift of Brown, Sally Jane, 2023 December 01"],"access_subjects_ssim":["West Virginia Feminist Activist and Women's History Collection","Women and the arts","Art, American -- 20th century -- Exhibitions","Art, American -- 21st century -- Exhibitions"],"access_subjects_ssm":["West Virginia Feminist Activist and Women's History Collection","Women and the arts","Art, American -- 20th century -- Exhibitions","Art, American -- 21st century -- Exhibitions"],"has_online_content_ssim":["false"],"extent_ssm":["1.13 Linear Feet 1 ft. 1.5 in. (1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1 in.; rolled storage box, 5 in.)"],"extent_tesim":["1.13 Linear Feet 1 ft. 1.5 in. (1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1 in.; rolled storage box, 5 in.)"],"date_range_isim":[1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies."],"bioghist_html_tesm":["\u003cp\u003eSally Brown (formerly Deskins) is an artist, curator and writer currently based in Morgantown, West Virginia. Her artwork—including drawing, painting, and performance—explores womanhood, motherhood, and the body.\u003c/p\u003e\n","\u003cp\u003eSally has exhibited her work in spaces nationally and in the United Kingdom. She has won two awards for illustration for \u003ctitle\u003eIntimates and Fools\u003c/title\u003e and \u003ctitle\u003eLeaves of Absence\u003c/title\u003e, both with poetry by Laura Madeline Wiseman. Her writing has been published in \u003ctitle\u003eHyperallergic\u003c/title\u003e, \u003ctitle\u003eWomen's Art Journal\u003c/title\u003e, and \u003ctitle\u003eArtslant\u003c/title\u003e, among others. She has curated group shows in Omaha, Nashville, Pittsburgh, and Morgantown.\u003c/p\u003e\n","\u003cp\u003eSally holds a Bachelor of Arts-Studio Art, a Master of Public Administration, and Master of Arts-Art History and Feminist Theory. She is a member of the College Art Association National Committee on Women in the Arts, edited the online journal \u003ctitle\u003eLes Femmes Folles\u003c/title\u003e, and currently serves as Curator for West Virginia University Libraries, art editor for \u003ctitle\u003eThimble Literary Magazine\u003c/title\u003e, and contributing writer to Borshch of Art \u003ctitle\u003eDiscover Database\u003c/title\u003e. Born in Oregon, she spent most of her upbringing in Omaha, Nebraska, and currently lives in Morgantown with her two children and her cat, Chalupa.\u003c/p\u003e\n","\u003cp\u003e\nBiographical / Historical Note From: \u003c/p\u003e\n","\u003cp\u003eBrown, S. (n.d.). \u003ctitle\u003eAbout\u003c/title\u003e. Sally Jane Brown. https://sallyjanebrown.com/about. \u003c/p\u003e\n","\u003cp\u003eSally Jane Brown formerly went by \"Sally Brown Deskins\". This biographical note is accurate as of 2025 January. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Sally Brown (formerly Deskins) is an artist, curator and writer currently based in Morgantown, West Virginia. Her artwork—including drawing, painting, and performance—explores womanhood, motherhood, and the body.","Sally has exhibited her work in spaces nationally and in the United Kingdom. She has won two awards for illustration for  Intimates and Fools  and  Leaves of Absence , both with poetry by Laura Madeline Wiseman. Her writing has been published in  Hyperallergic ,  Women's Art Journal , and  Artslant , among others. She has curated group shows in Omaha, Nashville, Pittsburgh, and Morgantown.","Sally holds a Bachelor of Arts-Studio Art, a Master of Public Administration, and Master of Arts-Art History and Feminist Theory. She is a member of the College Art Association National Committee on Women in the Arts, edited the online journal  Les Femmes Folles , and currently serves as Curator for West Virginia University Libraries, art editor for  Thimble Literary Magazine , and contributing writer to Borshch of Art  Discover Database . Born in Oregon, she spent most of her upbringing in Omaha, Nebraska, and currently lives in Morgantown with her two children and her cat, Chalupa.","\nBiographical / Historical Note From: ","Brown, S. (n.d.).  About . Sally Jane Brown. https://sallyjanebrown.com/about. ","Sally Jane Brown formerly went by \"Sally Brown Deskins\". This biographical note is accurate as of 2025 January. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Sally Jane Brown, Artist, Collection, A\u0026amp;M 5285, 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], Sally Jane Brown, Artist, Collection, A\u0026M 5285, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:\u003c/p\u003e\n","\u003cp\u003eSeries 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01\u003c/p\u003e\n","\u003cp\u003eSeries 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from \u003ctitle\u003eFirst American Art\u003c/title\u003e, the Huntington Museum of Art's \u003ctitle\u003eMembers Magazine\u003c/title\u003e, \u003ctitle\u003eMom Egg Review\u003c/title\u003e, and \u003ctitle\u003eWoman's Art Journal\u003c/title\u003e. Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.\u003c/p\u003e","\u003cp\u003eThis series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not.  Box 3 contains an addendum of 2024/12/01\u003c/p\u003e","\u003cp\u003eThis series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from \u003ctitle\u003eFirst American Art\u003c/title\u003e, the Huntington Museum of Art's \u003ctitle\u003eMembers Magazine\u003c/title\u003e, \u003ctitle\u003eMom Egg Review\u003c/title\u003e, and \u003ctitle\u003eWoman's Art Journal\u003c/title\u003e. Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:","Series 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01","Series 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.","This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not.  Box 3 contains an addendum of 2024/12/01","This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01."],"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_a974cb50ec0f917f6f9da369613026db\"\u003eThis collection contains materials collected or created by Sally Jane Brown, a feminist artist, in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials collected or created by Sally Jane Brown, a feminist artist, in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_592b504a71b16a8bf5b60ef5f963ea57\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Brown, Sally Jane"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Brown, Sally Jane"],"persname_ssim":["Brown, Sally Jane"],"language_ssim":["English \n.    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Exhibitions and Programs","WVU - Creative Arts Center - Exhibit Leaflets, Pamphlets, and Publications","Box 1","Folder 17"],"title_filing_ssi":"WVU - Creative Arts Center - Exhibit Leaflets, Pamphlets, and Publications","title_ssm":["WVU - Creative Arts Center - Exhibit Leaflets, Pamphlets, and Publications"],"title_tesim":["WVU - Creative Arts Center - Exhibit Leaflets, Pamphlets, and Publications"],"unitdate_inclusive_ssm":["1996-2017 and undated"],"normalized_date_ssm":["1996/2017"],"normalized_title_ssm":["WVU - Creative Arts Center - Exhibit Leaflets, Pamphlets, and Publications"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Sally Jane Brown, Artist, Collection"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":13,"parent_access_restrict_tesm":["No special access restriction applies."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. 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Her artwork—including drawing, painting, and performance—explores womanhood, motherhood, and the body.","Sally has exhibited her work in spaces nationally and in the United Kingdom. She has won two awards for illustration for  Intimates and Fools  and  Leaves of Absence , both with poetry by Laura Madeline Wiseman. Her writing has been published in  Hyperallergic ,  Women's Art Journal , and  Artslant , among others. She has curated group shows in Omaha, Nashville, Pittsburgh, and Morgantown.","Sally holds a Bachelor of Arts-Studio Art, a Master of Public Administration, and Master of Arts-Art History and Feminist Theory. She is a member of the College Art Association National Committee on Women in the Arts, edited the online journal  Les Femmes Folles , and currently serves as Curator for West Virginia University Libraries, art editor for  Thimble Literary Magazine , and contributing writer to Borshch of Art  Discover Database . Born in Oregon, she spent most of her upbringing in Omaha, Nebraska, and currently lives in Morgantown with her two children and her cat, Chalupa.","\nBiographical / Historical Note From: ","Brown, S. (n.d.).  About . Sally Jane Brown. https://sallyjanebrown.com/about. ","Sally Jane Brown formerly went by \"Sally Brown Deskins\". This biographical note is accurate as of 2025 January. ","This collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:","Series 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01","Series 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.","This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. 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For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","This collection contains materials collected or created by Sally Jane Brown, a feminist artist, in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia.","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","Brown, Sally Jane","English \n.    "],"unitid_tesim":["A\u0026M 5285","Archival Resource Key","/repositories/2/resources/7045"],"normalized_title_ssm":["Sally Jane Brown, Artist, Collection"],"collection_title_tesim":["Sally Jane Brown, Artist, Collection"],"collection_ssim":["Sally Jane Brown, Artist, Collection"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Brown, Sally Jane","Brown, Sally Jane"],"creator_ssim":["Brown, Sally Jane","Brown, Sally Jane"],"creator_persname_ssim":["Brown, Sally Jane","Brown, Sally Jane"],"creators_ssim":["Brown, Sally Jane","Brown, Sally Jane"],"access_terms_ssm":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift of Brown, Sally Jane, 2022 October 10","Gift of Brown, Sally Jane, 2023 December 01"],"access_subjects_ssim":["West Virginia Feminist Activist and Women's History Collection","Women and the arts","Art, American -- 20th century -- Exhibitions","Art, American -- 21st century -- Exhibitions"],"access_subjects_ssm":["West Virginia Feminist Activist and Women's History Collection","Women and the arts","Art, American -- 20th century -- Exhibitions","Art, American -- 21st century -- Exhibitions"],"has_online_content_ssim":["false"],"extent_ssm":["1.13 Linear Feet 1 ft. 1.5 in. (1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1 in.; rolled storage box, 5 in.)"],"extent_tesim":["1.13 Linear Feet 1 ft. 1.5 in. (1 document case, 5 in.; 1 document case, 2.5 in.; 1 flat storage box, 1 in.; rolled storage box, 5 in.)"],"date_range_isim":[1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019,2020,2021,2022,2023],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies."],"bioghist_html_tesm":["\u003cp\u003eSally Brown (formerly Deskins) is an artist, curator and writer currently based in Morgantown, West Virginia. Her artwork—including drawing, painting, and performance—explores womanhood, motherhood, and the body.\u003c/p\u003e\n","\u003cp\u003eSally has exhibited her work in spaces nationally and in the United Kingdom. She has won two awards for illustration for \u003ctitle\u003eIntimates and Fools\u003c/title\u003e and \u003ctitle\u003eLeaves of Absence\u003c/title\u003e, both with poetry by Laura Madeline Wiseman. Her writing has been published in \u003ctitle\u003eHyperallergic\u003c/title\u003e, \u003ctitle\u003eWomen's Art Journal\u003c/title\u003e, and \u003ctitle\u003eArtslant\u003c/title\u003e, among others. She has curated group shows in Omaha, Nashville, Pittsburgh, and Morgantown.\u003c/p\u003e\n","\u003cp\u003eSally holds a Bachelor of Arts-Studio Art, a Master of Public Administration, and Master of Arts-Art History and Feminist Theory. She is a member of the College Art Association National Committee on Women in the Arts, edited the online journal \u003ctitle\u003eLes Femmes Folles\u003c/title\u003e, and currently serves as Curator for West Virginia University Libraries, art editor for \u003ctitle\u003eThimble Literary Magazine\u003c/title\u003e, and contributing writer to Borshch of Art \u003ctitle\u003eDiscover Database\u003c/title\u003e. Born in Oregon, she spent most of her upbringing in Omaha, Nebraska, and currently lives in Morgantown with her two children and her cat, Chalupa.\u003c/p\u003e\n","\u003cp\u003e\nBiographical / Historical Note From: \u003c/p\u003e\n","\u003cp\u003eBrown, S. (n.d.). \u003ctitle\u003eAbout\u003c/title\u003e. Sally Jane Brown. https://sallyjanebrown.com/about. \u003c/p\u003e\n","\u003cp\u003eSally Jane Brown formerly went by \"Sally Brown Deskins\". This biographical note is accurate as of 2025 January. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Sally Brown (formerly Deskins) is an artist, curator and writer currently based in Morgantown, West Virginia. Her artwork—including drawing, painting, and performance—explores womanhood, motherhood, and the body.","Sally has exhibited her work in spaces nationally and in the United Kingdom. She has won two awards for illustration for  Intimates and Fools  and  Leaves of Absence , both with poetry by Laura Madeline Wiseman. Her writing has been published in  Hyperallergic ,  Women's Art Journal , and  Artslant , among others. She has curated group shows in Omaha, Nashville, Pittsburgh, and Morgantown.","Sally holds a Bachelor of Arts-Studio Art, a Master of Public Administration, and Master of Arts-Art History and Feminist Theory. She is a member of the College Art Association National Committee on Women in the Arts, edited the online journal  Les Femmes Folles , and currently serves as Curator for West Virginia University Libraries, art editor for  Thimble Literary Magazine , and contributing writer to Borshch of Art  Discover Database . Born in Oregon, she spent most of her upbringing in Omaha, Nebraska, and currently lives in Morgantown with her two children and her cat, Chalupa.","\nBiographical / Historical Note From: ","Brown, S. (n.d.).  About . Sally Jane Brown. https://sallyjanebrown.com/about. ","Sally Jane Brown formerly went by \"Sally Brown Deskins\". This biographical note is accurate as of 2025 January. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Sally Jane Brown, Artist, Collection, A\u0026amp;M 5285, 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], Sally Jane Brown, Artist, Collection, A\u0026M 5285, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:\u003c/p\u003e\n","\u003cp\u003eSeries 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01\u003c/p\u003e\n","\u003cp\u003eSeries 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from \u003ctitle\u003eFirst American Art\u003c/title\u003e, the Huntington Museum of Art's \u003ctitle\u003eMembers Magazine\u003c/title\u003e, \u003ctitle\u003eMom Egg Review\u003c/title\u003e, and \u003ctitle\u003eWoman's Art Journal\u003c/title\u003e. Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.\u003c/p\u003e","\u003cp\u003eThis series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not.  Box 3 contains an addendum of 2024/12/01\u003c/p\u003e","\u003cp\u003eThis series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from \u003ctitle\u003eFirst American Art\u003c/title\u003e, the Huntington Museum of Art's \u003ctitle\u003eMembers Magazine\u003c/title\u003e, \u003ctitle\u003eMom Egg Review\u003c/title\u003e, and \u003ctitle\u003eWoman's Art Journal\u003c/title\u003e. Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:","Series 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01","Series 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.","This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not.  Box 3 contains an addendum of 2024/12/01","This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01."],"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_a974cb50ec0f917f6f9da369613026db\"\u003eThis collection contains materials collected or created by Sally Jane Brown, a feminist artist, in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials collected or created by Sally Jane Brown, a feminist artist, in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_592b504a71b16a8bf5b60ef5f963ea57\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Brown, Sally Jane"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Brown, Sally Jane"],"persname_ssim":["Brown, Sally Jane"],"language_ssim":["English \n.    "],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:42.135Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_7045_c01_c12"}},{"id":"wvmturhc_repositories_2_resources_6442_c08","type":"File","attributes":{"title":"WVU Departmental Alumni Recognition Award","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_6442_c08#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_6442_c08","ref_ssm":["wvmturhc_repositories_2_resources_6442_c08"],"id":"wvmturhc_repositories_2_resources_6442_c08","ead_ssi":"wvmturhc_repositories_2_resources_6442","_root_":"wvmturhc_repositories_2_resources_6442","_nest_parent_":"wvmturhc_repositories_2_resources_6442","parent_ssi":"wvmturhc_repositories_2_resources_6442","parent_ssim":["wvmturhc_repositories_2_resources_6442"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_6442"],"parent_unittitles_ssm":["Carrie Koeturius Papers"],"parent_unittitles_tesim":["Carrie Koeturius Papers"],"text":["Carrie Koeturius Papers","WVU Departmental Alumni Recognition Award","Box 1","Folder 8"],"title_filing_ssi":"WVU Departmental Alumni Recognition Award","title_ssm":["WVU Departmental Alumni Recognition Award"],"title_tesim":["WVU Departmental Alumni Recognition Award"],"unitdate_inclusive_ssm":["2011-2018"],"normalized_date_ssm":["2011/2018"],"normalized_title_ssm":["WVU Departmental Alumni Recognition Award"],"component_level_isim":[1],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Carrie Koeturius Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":8,"parent_access_restrict_tesm":["No special access restriction applies."],"parent_access_terms_tesm":["Permission to publish or reproduce is required from the copyright holder. 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After the early deaths of her parents, Koeturius was raised by aunts in the New Jersey area. She graduated from Penns Grove High School in Penns Grove, New Jersey, in 1966. She then attended Potomac State College in Keyser, West Virginia, for several years before dropping out her senior year. ","She worked in several local Morgantown businesses before gaining employment as a secretary in the WVU 4-H state office as part of the Cooperative Extension Service. While working with the 4-H, she served as an assistant to director Mildred Fizer. She then returned to school and earned a degree in social work through WVU's Board of Regents Bachelor of Arts (BA) program in 1979. ","While working on her degree at WVU, she participated in a work-study internship with the Rape and Domestic Violence Information Center (RDVIC) in Morgantown. She went on to work briefly as their administrative assistant before federal funding ran out. ","She then began working as a manager in the WVU Conference Center, where she organized freshman orientation, summer camps, and campus programs. While working at the WVU Conference Center, Koeturius served on the steering committee for WVU's Focus on Women and Health conference in 1982 and served as co-chair for WVU's Women and Creativity: Masks, Myths, and Marmalade conference in 1984. ","While serving on the steering committee for the Focus on Women in Health conference in 1981, she was inspired to encourage women singer-songwriters to perform in Morgantown. She facilitated the visit of artist Holly Near and helped found the Artemis Sisters, a group of feminist women in Morgantown who sought to bring female artists to Morgantown. ","While living in Morgantown, Koeturius was also active with the WVU Council for Women's Concerns, Parents Anonymous, Parents and Children Together, Stop Abuse Against Womyn, Women's Information Center, and the defense committees for Lorraine Momen and Elizabeth Strickland. In 1982 she also helped organize Sisterspace, a feminist lending library and space for women in Morgantown, donating 200 of her own personal books. ","In 1984, she received WVU's Mary Catherine Buswell Award and the Morgantown Soroptimist's Women Helping Women Award. Before moving away from Morgantown permanently in 1985, the WVU Center for Women's Studies established a scholarship in her name, which as of 2026 May, still exists. ","After leaving Morgantown, Koeturius lived in California and founded CK \u0026 Associates in 1990. She returnedto WVU to participate in the Women and Creativity: Masks, Myths, and Marmalade conference in 1994. As of 2026 May, she is retired and lives in Tennessee. ","An oral history with Carrie Koeturius and other materials related to the Artemis Sisters are available in A\u0026M 4561","This collection contains materials collected and created by Carrie Koeturius during her time as an activist in Morgantown, West Virginia. It includes materials related to activist and advocacy organizations such as the Artemis Sisters, Sisterspace, and Women's Information Center. It also contains materials related to her activities at WVU concerning the Women and Creativity conferences in 1984 and 1998 and personal achievements, such as her receiving the Mary Catherine Buwell Award and Women Helping Women Award.","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","Koeturius, Carrie","English \n.    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For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"access_subjects_ssim":["West Virginia Feminist Activist and Women's History Collection","Women in community organization","Women political activists"],"access_subjects_ssm":["West Virginia Feminist Activist and Women's History Collection","Women in community organization","Women political activists"],"has_online_content_ssim":["false"],"extent_ssm":["0.21 Linear Feet 2.5 in. (1 document case)"],"extent_tesim":["0.21 Linear Feet 2.5 in. (1 document case)"],"date_range_isim":[1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018],"accessrestrict_html_tesm":["\u003cp\u003eNo special access restriction applies.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access"],"accessrestrict_tesim":["No special access restriction applies."],"bioghist_html_tesm":["\u003cp\u003eCarrie Koeturius was born to Josephine and George Koeturius in 1949-1950. After the early deaths of her parents, Koeturius was raised by aunts in the New Jersey area. She graduated from Penns Grove High School in Penns Grove, New Jersey, in 1966. She then attended Potomac State College in Keyser, West Virginia, for several years before dropping out her senior year. \u003c/p\u003e\n","\u003cp\u003eShe worked in several local Morgantown businesses before gaining employment as a secretary in the WVU 4-H state office as part of the Cooperative Extension Service. While working with the 4-H, she served as an assistant to director Mildred Fizer. She then returned to school and earned a degree in social work through WVU's Board of Regents Bachelor of Arts (BA) program in 1979. \u003c/p\u003e\n","\u003cp\u003eWhile working on her degree at WVU, she participated in a work-study internship with the Rape and Domestic Violence Information Center (RDVIC) in Morgantown. She went on to work briefly as their administrative assistant before federal funding ran out. \u003c/p\u003e\n","\u003cp\u003eShe then began working as a manager in the WVU Conference Center, where she organized freshman orientation, summer camps, and campus programs. While working at the WVU Conference Center, Koeturius served on the steering committee for WVU's Focus on Women and Health conference in 1982 and served as co-chair for WVU's Women and Creativity: Masks, Myths, and Marmalade conference in 1984. \u003c/p\u003e\n","\u003cp\u003eWhile serving on the steering committee for the Focus on Women in Health conference in 1981, she was inspired to encourage women singer-songwriters to perform in Morgantown. She facilitated the visit of artist Holly Near and helped found the Artemis Sisters, a group of feminist women in Morgantown who sought to bring female artists to Morgantown. \u003c/p\u003e\n","\u003cp\u003eWhile living in Morgantown, Koeturius was also active with the WVU Council for Women's Concerns, Parents Anonymous, Parents and Children Together, Stop Abuse Against Womyn, Women's Information Center, and the defense committees for Lorraine Momen and Elizabeth Strickland. In 1982 she also helped organize Sisterspace, a feminist lending library and space for women in Morgantown, donating 200 of her own personal books. \u003c/p\u003e\n","\u003cp\u003eIn 1984, she received WVU's Mary Catherine Buswell Award and the Morgantown Soroptimist's Women Helping Women Award. Before moving away from Morgantown permanently in 1985, the WVU Center for Women's Studies established a scholarship in her name, which as of 2026 May, still exists. \u003c/p\u003e\n","\u003cp\u003eAfter leaving Morgantown, Koeturius lived in California and founded CK \u0026amp; Associates in 1990. She returnedto WVU to participate in the Women and Creativity: Masks, Myths, and Marmalade conference in 1994. As of 2026 May, she is retired and lives in Tennessee. \u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Carrie Koeturius was born to Josephine and George Koeturius in 1949-1950. After the early deaths of her parents, Koeturius was raised by aunts in the New Jersey area. She graduated from Penns Grove High School in Penns Grove, New Jersey, in 1966. She then attended Potomac State College in Keyser, West Virginia, for several years before dropping out her senior year. ","She worked in several local Morgantown businesses before gaining employment as a secretary in the WVU 4-H state office as part of the Cooperative Extension Service. While working with the 4-H, she served as an assistant to director Mildred Fizer. She then returned to school and earned a degree in social work through WVU's Board of Regents Bachelor of Arts (BA) program in 1979. ","While working on her degree at WVU, she participated in a work-study internship with the Rape and Domestic Violence Information Center (RDVIC) in Morgantown. She went on to work briefly as their administrative assistant before federal funding ran out. ","She then began working as a manager in the WVU Conference Center, where she organized freshman orientation, summer camps, and campus programs. While working at the WVU Conference Center, Koeturius served on the steering committee for WVU's Focus on Women and Health conference in 1982 and served as co-chair for WVU's Women and Creativity: Masks, Myths, and Marmalade conference in 1984. ","While serving on the steering committee for the Focus on Women in Health conference in 1981, she was inspired to encourage women singer-songwriters to perform in Morgantown. She facilitated the visit of artist Holly Near and helped found the Artemis Sisters, a group of feminist women in Morgantown who sought to bring female artists to Morgantown. ","While living in Morgantown, Koeturius was also active with the WVU Council for Women's Concerns, Parents Anonymous, Parents and Children Together, Stop Abuse Against Womyn, Women's Information Center, and the defense committees for Lorraine Momen and Elizabeth Strickland. In 1982 she also helped organize Sisterspace, a feminist lending library and space for women in Morgantown, donating 200 of her own personal books. ","In 1984, she received WVU's Mary Catherine Buswell Award and the Morgantown Soroptimist's Women Helping Women Award. Before moving away from Morgantown permanently in 1985, the WVU Center for Women's Studies established a scholarship in her name, which as of 2026 May, still exists. ","After leaving Morgantown, Koeturius lived in California and founded CK \u0026 Associates in 1990. She returnedto WVU to participate in the Women and Creativity: Masks, Myths, and Marmalade conference in 1994. As of 2026 May, she is retired and lives in Tennessee. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Carrie Koeturius Papers, A\u0026amp;M 4356, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia.\u003c/p\u003e"],"prefercite_tesim":["[Description and date of item], [Box/folder number], Carrie Koeturius Papers, A\u0026M 4356, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"relatedmaterial_html_tesm":["\u003cp\u003eAn oral history with Carrie Koeturius and other materials related to the Artemis Sisters are available in A\u0026amp;M 4561\u003c/p\u003e"],"relatedmaterial_heading_ssm":["Related Materials"],"relatedmaterial_tesim":["An oral history with Carrie Koeturius and other materials related to the Artemis Sisters are available in A\u0026M 4561"],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains materials collected and created by Carrie Koeturius during her time as an activist in Morgantown, West Virginia. 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It also contains materials related to her activities at WVU concerning the Women and Creativity conferences in 1984 and 1998 and personal achievements, such as her receiving the Mary Catherine Buwell Award and Women Helping Women Award."],"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. 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Her artwork—including drawing, painting, and performance—explores womanhood, motherhood, and the body.","Sally has exhibited her work in spaces nationally and in the United Kingdom. She has won two awards for illustration for  Intimates and Fools  and  Leaves of Absence , both with poetry by Laura Madeline Wiseman. Her writing has been published in  Hyperallergic ,  Women's Art Journal , and  Artslant , among others. She has curated group shows in Omaha, Nashville, Pittsburgh, and Morgantown.","Sally holds a Bachelor of Arts-Studio Art, a Master of Public Administration, and Master of Arts-Art History and Feminist Theory. She is a member of the College Art Association National Committee on Women in the Arts, edited the online journal  Les Femmes Folles , and currently serves as Curator for West Virginia University Libraries, art editor for  Thimble Literary Magazine , and contributing writer to Borshch of Art  Discover Database . Born in Oregon, she spent most of her upbringing in Omaha, Nebraska, and currently lives in Morgantown with her two children and her cat, Chalupa.","\nBiographical / Historical Note From: ","Brown, S. (n.d.).  About . Sally Jane Brown. https://sallyjanebrown.com/about. ","Sally Jane Brown formerly went by \"Sally Brown Deskins\". This biographical note is accurate as of 2025 January. ","This collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:","Series 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01","Series 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.","This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. 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She is a member of the College Art Association National Committee on Women in the Arts, edited the online journal  Les Femmes Folles , and currently serves as Curator for West Virginia University Libraries, art editor for  Thimble Literary Magazine , and contributing writer to Borshch of Art  Discover Database . Born in Oregon, she spent most of her upbringing in Omaha, Nebraska, and currently lives in Morgantown with her two children and her cat, Chalupa.","\nBiographical / Historical Note From: ","Brown, S. (n.d.).  About . Sally Jane Brown. https://sallyjanebrown.com/about. ","Sally Jane Brown formerly went by \"Sally Brown Deskins\". This biographical note is accurate as of 2025 January. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Sally Jane Brown, Artist, Collection, A\u0026amp;M 5285, 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], Sally Jane Brown, Artist, Collection, A\u0026M 5285, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:\u003c/p\u003e\n","\u003cp\u003eSeries 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01\u003c/p\u003e\n","\u003cp\u003eSeries 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from \u003ctitle\u003eFirst American Art\u003c/title\u003e, the Huntington Museum of Art's \u003ctitle\u003eMembers Magazine\u003c/title\u003e, \u003ctitle\u003eMom Egg Review\u003c/title\u003e, and \u003ctitle\u003eWoman's Art Journal\u003c/title\u003e. Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.\u003c/p\u003e","\u003cp\u003eThis series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not.  Box 3 contains an addendum of 2024/12/01\u003c/p\u003e","\u003cp\u003eThis series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from \u003ctitle\u003eFirst American Art\u003c/title\u003e, the Huntington Museum of Art's \u003ctitle\u003eMembers Magazine\u003c/title\u003e, \u003ctitle\u003eMom Egg Review\u003c/title\u003e, and \u003ctitle\u003eWoman's Art Journal\u003c/title\u003e. Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection contains materials collected or created by Sally Jane Brown in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia. Brown formerly went by \"Sally Brown Deskins\", which is apparent in several of her art pieces and exhibitions. The collection is divided into two series:","Series 1. Exhibitions: This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2020. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not. Box 3 contains an addendum of 2024/12/01","Series 2. Art Publications: This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01.","This series contains materials collected or created by Sally Jane Brown that are related to art exhibitions and showcases in West Virginia, especially those focused on women, between 1959 and 2023. It primarily consists of exhibition leaflets and pamphlets, but also contains posters, a notebook, newspaper clippings, correspondence, and exhibition publications. Some exhibitions feature Sally Jane Brown as an artist, while others do not.  Box 3 contains an addendum of 2024/12/01","This series contains general art publications collected and created by Sally Jane Brown between 2001 and 2022. It includes publications from  First American Art , the Huntington Museum of Art's  Members Magazine ,  Mom Egg Review , and  Woman's Art Journal . Also included are materials from Brown's work with Les Femmes Folles, a woman-focused art publication, and one zine created by Brown. Box 3 contains an addendum of 2024/12/01."],"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_a974cb50ec0f917f6f9da369613026db\"\u003eThis collection contains materials collected or created by Sally Jane Brown, a feminist artist, in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia.\u003c/abstract\u003e"],"abstract_tesim":["This collection contains materials collected or created by Sally Jane Brown, a feminist artist, in relation to art exhibitions and showcases, particularly women-focused ones in West Virginia."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_592b504a71b16a8bf5b60ef5f963ea57\"\u003eWest Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/\u003c/physloc\u003e"],"physloc_tesim":["West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536  / URL: https://wvrhc.lib.wvu.edu/"],"names_ssim":["West Virginia and Regional History Center","Brown, Sally Jane"],"corpname_ssim":["West Virginia and Regional History Center"],"names_coll_ssim":["Brown, Sally Jane"],"persname_ssim":["Brown, Sally Jane"],"language_ssim":["English \n.    "],"total_component_count_is":31,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-06-04T15:06:42.135Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_7045_c01_c11"}},{"id":"wvmturhc_repositories_2_resources_7060_c04_c01","type":"File","attributes":{"title":"WVU Retirees Association Board of Directors","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_7060_c04_c01#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_7060_c04_c01","ref_ssm":["wvmturhc_repositories_2_resources_7060_c04_c01"],"id":"wvmturhc_repositories_2_resources_7060_c04_c01","ead_ssi":"wvmturhc_repositories_2_resources_7060","_root_":"wvmturhc_repositories_2_resources_7060","_nest_parent_":"wvmturhc_repositories_2_resources_7060_c04","parent_ssi":"wvmturhc_repositories_2_resources_7060_c04","parent_ssim":["wvmturhc_repositories_2_resources_7060","wvmturhc_repositories_2_resources_7060_c04"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_7060","wvmturhc_repositories_2_resources_7060_c04"],"parent_unittitles_ssm":["Arthur Jacknowitz Faculty Papers","Series 4. General WVU Papers"],"parent_unittitles_tesim":["Arthur Jacknowitz Faculty Papers","Series 4. General WVU Papers"],"text":["Arthur Jacknowitz Faculty Papers","Series 4. General WVU Papers","WVU Retirees Association Board of Directors","Box 8","Folder 1"],"title_filing_ssi":"WVU Retirees Association Board of Directors","title_ssm":["WVU Retirees Association Board of Directors"],"title_tesim":["WVU Retirees Association Board of Directors"],"unitdate_inclusive_ssm":["2015-2018"],"normalized_date_ssm":["2015/2018"],"normalized_title_ssm":["WVU Retirees Association Board of Directors"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Arthur Jacknowitz Faculty Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":114,"parent_access_restrict_tesm":["Box 2, folder 19, closed for 75 years due to student records."],"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":[2015,2016,2017,2018],"containers_ssim":["Box 8","Folder 1"],"_nest_path_":"/components#3/components#0","timestamp":"2026-05-21T01:04:04.801Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_7060","ead_ssi":"wvmturhc_repositories_2_resources_7060","_root_":"wvmturhc_repositories_2_resources_7060","_nest_parent_":"wvmturhc_repositories_2_resources_7060","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_7060.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/255453","title_ssm":["Arthur Jacknowitz Faculty Papers"],"title_tesim":["Arthur Jacknowitz Faculty Papers"],"unitdate_ssm":["1954-2019"],"unitdate_inclusive_ssm":["1954-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4660","Archival Resource Key","/repositories/2/resources/7060"],"text":["A\u0026M 4660","Archival Resource Key","/repositories/2/resources/7060","Arthur Jacknowitz Faculty Papers","Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists","Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records.","Dr. Arthur Jacknowitz (1944-2019), a native of Brooklyn, New York, joined the West Virginia University School of Pharmacy in 1974. He was chair of the Department of Clinical Pharmacy for almost 16 years, from 1985-2001. Prior to this, he was director of the University's Drug Information Center. In 1988 his efforts to disseminate drug information to consumers and health professionals won him the University's Heebink Award for Outstanding State Service.","In 2001, to recognize his more than a quarter of a century of teaching, scholarship and service, a former student endowed a Distinguished Chair in his honor - Jacknowitz was named its first occupant.","In 2004, the WVU School of Pharmacy Alumni Association conferred honorary alumnus status on him. That same year, he was named WVU's Most Loyal Faculty Mountaineer. ","Jacknowitz was an academic advisor to more than 260 pre-pharmacy and pharmacy honors students. In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.","Jacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.","Jacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the  US Pharmacist,  a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the  Drug Information Journal.  He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.","Adapted from the following article:","(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. ","The creator's original folder titles were preserved while processessing this collection.","This collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. ","The collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.","The collection is organized into six series.","Series include:","Series 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","Series 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. ","Series 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","Series 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","Series 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Series 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)","This series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","This series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.","This series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","This series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","This series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. School of Pharmacy","Jacknowitz, Linda","Jacknowitz, Arthur I.","English \n.    "],"unitid_tesim":["A\u0026M 4660","Archival Resource Key","/repositories/2/resources/7060"],"normalized_title_ssm":["Arthur Jacknowitz Faculty Papers"],"collection_title_tesim":["Arthur Jacknowitz Faculty Papers"],"collection_ssim":["Arthur Jacknowitz Faculty Papers"],"repository_ssm":["West Virginia and Regional History Center"],"repository_ssim":["West Virginia and Regional History Center"],"creator_ssm":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"creator_ssim":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"creator_persname_ssim":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"creators_ssim":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"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 Linda Jacknowitz, June 10, 2020."],"access_subjects_ssim":["Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists"],"access_subjects_ssm":["Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists"],"has_online_content_ssim":["false"],"extent_ssm":["12.75 Linear Feet 12 ft. 9 in. (10 record cartons, 15 in. each); (1 flat storage box, 3 in.)"],"extent_tesim":["12.75 Linear Feet 12 ft. 9 in. (10 record cartons, 15 in. each); (1 flat storage box, 3 in.)"],"date_range_isim":[1954,1955,1956,1957,1958,1959,1960,1961,1962,1963,1964,1965,1966,1967,1968,1969,1970,1971,1972,1973,1974,1975,1976,1977,1978,1979,1980,1981,1982,1983,1984,1985,1986,1987,1988,1989,1990,1991,1992,1993,1994,1995,1996,1997,1998,1999,2000,2001,2002,2003,2004,2005,2006,2007,2008,2009,2010,2011,2012,2013,2014,2015,2016,2017,2018,2019],"accessrestrict_html_tesm":["\u003cp\u003eBox 2, folder 19, closed for 75 years due to student records.\u003c/p\u003e","\u003cp\u003eBox 2, folder 19, closed for 75 years due to student records.\u003c/p\u003e","\u003cp\u003eBox 2, folder 19, closed for 75 years due to student records.\u003c/p\u003e"],"accessrestrict_heading_ssm":["Conditions Governing Access","Box 1 Folder 19 - closed for 75 years","Conditions Governing Access"],"accessrestrict_tesim":["Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records."],"bioghist_html_tesm":["\u003cp\u003eDr. Arthur Jacknowitz (1944-2019), a native of Brooklyn, New York, joined the West Virginia University School of Pharmacy in 1974. He was chair of the Department of Clinical Pharmacy for almost 16 years, from 1985-2001. Prior to this, he was director of the University's Drug Information Center. In 1988 his efforts to disseminate drug information to consumers and health professionals won him the University's Heebink Award for Outstanding State Service.\u003c/p\u003e\n","\u003cp\u003eIn 2001, to recognize his more than a quarter of a century of teaching, scholarship and service, a former student endowed a Distinguished Chair in his honor - Jacknowitz was named its first occupant.\u003c/p\u003e\n","\u003cp\u003eIn 2004, the WVU School of Pharmacy Alumni Association conferred honorary alumnus status on him. That same year, he was named WVU's Most Loyal Faculty Mountaineer. \u003c/p\u003e\n","\u003cp\u003eJacknowitz was an academic advisor to more than 260 pre-pharmacy and pharmacy honors students. In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.\u003c/p\u003e\n","\u003cp\u003eJacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.\u003c/p\u003e\n","\u003cp\u003eJacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the \u003ctitle\u003eUS Pharmacist,\u003c/title\u003e a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the \u003ctitle\u003eDrug Information Journal.\u003c/title\u003e He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.\u003c/p\u003e\n","\u003cp\u003eAdapted from the following article:\u003c/p\u003e\n","\u003cp\u003e(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. \u003ca href=\"https://medicine.hsc.wvu.edu/News/Story?headline=sop-professor-emeritus-loyal-wvu-supporter-passes-away\"\u003e\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Dr. Arthur Jacknowitz (1944-2019), a native of Brooklyn, New York, joined the West Virginia University School of Pharmacy in 1974. He was chair of the Department of Clinical Pharmacy for almost 16 years, from 1985-2001. Prior to this, he was director of the University's Drug Information Center. In 1988 his efforts to disseminate drug information to consumers and health professionals won him the University's Heebink Award for Outstanding State Service.","In 2001, to recognize his more than a quarter of a century of teaching, scholarship and service, a former student endowed a Distinguished Chair in his honor - Jacknowitz was named its first occupant.","In 2004, the WVU School of Pharmacy Alumni Association conferred honorary alumnus status on him. That same year, he was named WVU's Most Loyal Faculty Mountaineer. ","Jacknowitz was an academic advisor to more than 260 pre-pharmacy and pharmacy honors students. In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.","Jacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.","Jacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the  US Pharmacist,  a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the  Drug Information Journal.  He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.","Adapted from the following article:","(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Arthur Jacknowitz Faculty Papers, A\u0026amp;M 4660, 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], Arthur Jacknowitz Faculty Papers, A\u0026M 4660, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe creator's original folder titles were preserved while processessing this collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The creator's original folder titles were preserved while processessing this collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. \u003c/p\u003e\n","\u003cp\u003eThe collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.\u003c/p\u003e\n","\u003cp\u003eThe collection is organized into six series.\u003c/p\u003e\n","\u003cp\u003eSeries include:\u003c/p\u003e\n","\u003cp\u003eSeries 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.\u003c/p\u003e\n","\u003cp\u003eSeries 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. \u003c/p\u003e\n","\u003cp\u003eSeries 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.\u003c/p\u003e\n","\u003cp\u003eSeries 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.\u003c/p\u003e\n","\u003cp\u003eSeries 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including \u003ctitle\u003ePharmacy Times\u003c/title\u003e and \u003ctitle\u003eU.S. Pharmacist Hospital Edition\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eSeries 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)\u003c/p\u003e","\u003cp\u003eThis series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.\u003c/p\u003e","\u003cp\u003eThis series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.\u003c/p\u003e","\u003cp\u003eThis series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.\u003c/p\u003e","\u003cp\u003eThis series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.\u003c/p\u003e","\u003cp\u003eThis series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including \u003ctitle\u003ePharmacy Times\u003c/title\u003e and \u003ctitle\u003eU.S. Pharmacist Hospital Edition\u003c/title\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. ","The collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.","The collection is organized into six series.","Series include:","Series 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","Series 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. ","Series 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","Series 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","Series 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Series 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)","This series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","This series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.","This series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","This series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","This series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition ."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_b06ecd2c502fe6d9e994dd6cc4077a88\"\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. School of Pharmacy","Jacknowitz, Linda"],"names_ssim":["West Virginia and Regional History Center","West Virginia University. School of Pharmacy","Jacknowitz, Linda","Jacknowitz, Arthur I."],"corpname_ssim":["West Virginia and Regional History Center","West Virginia University. School of Pharmacy"],"persname_ssim":["Jacknowitz, Linda","Jacknowitz, Arthur I."],"language_ssim":["English \n.    "],"descrules_ssm":["Describing Archives: A Content Standard"],"total_component_count_is":131,"online_item_count_is":0,"component_level_isim":[0],"sort_isi":0,"timestamp":"2026-05-21T01:04:04.801Z"}]}},"label":"Breadcrumbs"}}},"links":{"self":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_7060_c04_c01"}},{"id":"wvmturhc_repositories_2_resources_7060_c04_c02","type":"File","attributes":{"title":"WVU Retirees Association Current Agenda","breadcrumbs":{"id":"https://search.arvasarchive.org/catalog/wvmturhc_repositories_2_resources_7060_c04_c02#breadcrumbs","type":"document_value","attributes":{"value":{"ref_ssi":"wvmturhc_repositories_2_resources_7060_c04_c02","ref_ssm":["wvmturhc_repositories_2_resources_7060_c04_c02"],"id":"wvmturhc_repositories_2_resources_7060_c04_c02","ead_ssi":"wvmturhc_repositories_2_resources_7060","_root_":"wvmturhc_repositories_2_resources_7060","_nest_parent_":"wvmturhc_repositories_2_resources_7060_c04","parent_ssi":"wvmturhc_repositories_2_resources_7060_c04","parent_ssim":["wvmturhc_repositories_2_resources_7060","wvmturhc_repositories_2_resources_7060_c04"],"parent_ids_ssim":["wvmturhc_repositories_2_resources_7060","wvmturhc_repositories_2_resources_7060_c04"],"parent_unittitles_ssm":["Arthur Jacknowitz Faculty Papers","Series 4. General WVU Papers"],"parent_unittitles_tesim":["Arthur Jacknowitz Faculty Papers","Series 4. General WVU Papers"],"text":["Arthur Jacknowitz Faculty Papers","Series 4. General WVU Papers","WVU Retirees Association Current Agenda","Box 8","Folder 2"],"title_filing_ssi":"WVU Retirees Association Current Agenda","title_ssm":["WVU Retirees Association Current Agenda"],"title_tesim":["WVU Retirees Association Current Agenda"],"unitdate_inclusive_ssm":["2016-2018"],"normalized_date_ssm":["2016/2018"],"normalized_title_ssm":["WVU Retirees Association Current Agenda"],"component_level_isim":[2],"repository_ssim":["West Virginia and Regional History Center"],"collection_ssim":["Arthur Jacknowitz Faculty Papers"],"has_online_content_ssim":["false"],"child_component_count_isi":0,"level_ssm":["File"],"level_ssim":["File"],"sort_isi":115,"parent_access_restrict_tesm":["Box 2, folder 19, closed for 75 years due to student records."],"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":[2016,2017,2018],"containers_ssim":["Box 8","Folder 2"],"_nest_path_":"/components#3/components#1","timestamp":"2026-05-21T01:04:04.801Z","collection":{"numFound":1,"start":0,"numFoundExact":true,"docs":[{"id":"wvmturhc_repositories_2_resources_7060","ead_ssi":"wvmturhc_repositories_2_resources_7060","_root_":"wvmturhc_repositories_2_resources_7060","_nest_parent_":"wvmturhc_repositories_2_resources_7060","ead_source_url_ssi":"data/oai/WVU/repositories_2_resources_7060.xml","aspace_url_ssi":"https://archives.lib.wvu.edu/ark:/99999/255453","title_ssm":["Arthur Jacknowitz Faculty Papers"],"title_tesim":["Arthur Jacknowitz Faculty Papers"],"unitdate_ssm":["1954-2019"],"unitdate_inclusive_ssm":["1954-2019"],"level_ssm":["collection"],"level_ssim":["Collection"],"unitid_ssm":["A\u0026M 4660","Archival Resource Key","/repositories/2/resources/7060"],"text":["A\u0026M 4660","Archival Resource Key","/repositories/2/resources/7060","Arthur Jacknowitz Faculty Papers","Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists","Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records.","Box 2, folder 19, closed for 75 years due to student records.","Dr. Arthur Jacknowitz (1944-2019), a native of Brooklyn, New York, joined the West Virginia University School of Pharmacy in 1974. He was chair of the Department of Clinical Pharmacy for almost 16 years, from 1985-2001. Prior to this, he was director of the University's Drug Information Center. In 1988 his efforts to disseminate drug information to consumers and health professionals won him the University's Heebink Award for Outstanding State Service.","In 2001, to recognize his more than a quarter of a century of teaching, scholarship and service, a former student endowed a Distinguished Chair in his honor - Jacknowitz was named its first occupant.","In 2004, the WVU School of Pharmacy Alumni Association conferred honorary alumnus status on him. That same year, he was named WVU's Most Loyal Faculty Mountaineer. ","Jacknowitz was an academic advisor to more than 260 pre-pharmacy and pharmacy honors students. In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.","Jacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.","Jacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the  US Pharmacist,  a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the  Drug Information Journal.  He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.","Adapted from the following article:","(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. ","The creator's original folder titles were preserved while processessing this collection.","This collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. ","The collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.","The collection is organized into six series.","Series include:","Series 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","Series 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. ","Series 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","Series 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","Series 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Series 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)","This series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","This series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.","This series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","This series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","This series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website.","West Virginia and Regional History Center / West Virginia University / 1549 University Avenue / P.O. Box 6069 / Morgantown, WV 26506-6069 / Phone: 304-293-3536 / URL: https://wvrhc.lib.wvu.edu/","West Virginia and Regional History Center","West Virginia University. School of Pharmacy","Jacknowitz, Linda","Jacknowitz, Arthur I.","English \n.    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For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"acqinfo_ssim":["Gift from Linda Jacknowitz, June 10, 2020."],"access_subjects_ssim":["Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists"],"access_subjects_ssm":["Pharmacy -- History","Pharmacy -- Study and teaching ","Pharmacists"],"has_online_content_ssim":["false"],"extent_ssm":["12.75 Linear Feet 12 ft. 9 in. (10 record cartons, 15 in. each); (1 flat storage box, 3 in.)"],"extent_tesim":["12.75 Linear Feet 12 ft. 9 in. 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He was chair of the Department of Clinical Pharmacy for almost 16 years, from 1985-2001. Prior to this, he was director of the University's Drug Information Center. In 1988 his efforts to disseminate drug information to consumers and health professionals won him the University's Heebink Award for Outstanding State Service.\u003c/p\u003e\n","\u003cp\u003eIn 2001, to recognize his more than a quarter of a century of teaching, scholarship and service, a former student endowed a Distinguished Chair in his honor - Jacknowitz was named its first occupant.\u003c/p\u003e\n","\u003cp\u003eIn 2004, the WVU School of Pharmacy Alumni Association conferred honorary alumnus status on him. That same year, he was named WVU's Most Loyal Faculty Mountaineer. \u003c/p\u003e\n","\u003cp\u003eJacknowitz was an academic advisor to more than 260 pre-pharmacy and pharmacy honors students. In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.\u003c/p\u003e\n","\u003cp\u003eJacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.\u003c/p\u003e\n","\u003cp\u003eJacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the \u003ctitle\u003eUS Pharmacist,\u003c/title\u003e a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the \u003ctitle\u003eDrug Information Journal.\u003c/title\u003e He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.\u003c/p\u003e\n","\u003cp\u003eAdapted from the following article:\u003c/p\u003e\n","\u003cp\u003e(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. \u003ca href=\"https://medicine.hsc.wvu.edu/News/Story?headline=sop-professor-emeritus-loyal-wvu-supporter-passes-away\"\u003e\u003c/a\u003e\u003c/p\u003e"],"bioghist_heading_ssm":["Biographical / Historical"],"bioghist_tesim":["Dr. Arthur Jacknowitz (1944-2019), a native of Brooklyn, New York, joined the West Virginia University School of Pharmacy in 1974. He was chair of the Department of Clinical Pharmacy for almost 16 years, from 1985-2001. Prior to this, he was director of the University's Drug Information Center. In 1988 his efforts to disseminate drug information to consumers and health professionals won him the University's Heebink Award for Outstanding State Service.","In 2001, to recognize his more than a quarter of a century of teaching, scholarship and service, a former student endowed a Distinguished Chair in his honor - Jacknowitz was named its first occupant.","In 2004, the WVU School of Pharmacy Alumni Association conferred honorary alumnus status on him. That same year, he was named WVU's Most Loyal Faculty Mountaineer. ","Jacknowitz was an academic advisor to more than 260 pre-pharmacy and pharmacy honors students. In recognition of these sustained efforts, the WVU Honors College named him Faculty Advisor of 2012, and he was inducted into the WVU Health Sciences Center Academy of Excellence in Teaching and Learning.","Jacknowitz retired after 38 years of service to WVU but remained an engaged member of the University community. At the School of Pharmacy, he continued to mentor students, coordinated its student ambassador program and was a member of the School of Pharmacy Visiting Committee. After serving on the WVU Retiree Association Steering Committee, he then served as the association's founding chair. In retirement, he became a member of the WVU Art Museum's founding class of volunteer docents. The WVU Creative Arts Center Visiting Committee honored him and his wife Linda - awarding them the College's 2019 Alison Deem Distinguished Friends Award.","Jacknowitz authored or coauthored more than 100 scientific and technical articles and abstracts, and as many presentations. He was a monthly columnist for several years for the  US Pharmacist,  a recipient of the Merck, Sharp and Dohme Award for Outstanding Achievement in the Profession of Pharmacy, and for more than a quarter of a century, he was on the editorial board of the  Drug Information Journal.  He served two five-year terms as a member of the United States Pharmacopeia USP Convention's Gastroenterology Expert Committee. He is one of only 22 healthcare professionals nationwide to serve on the 2010-2015 Medicare Model Guidelines Expert Panel, where he and his panel of colleagues received the 2011 United States Pharmacopeial Convention (USP) Award for Innovative Response to a Public Health Challenge. At the time of his death, he was serving a seventh three-year term on The National Association of Boards of Pharmacy Licensure Test Review Committee. He is one of only 25 pharmacy practitioners and educators nationwide to achieve this recognition.","Adapted from the following article:","(2019 April 22). SoP professor emeritus, loyal WVU supporter, passes away. School of Pharmacy News. "],"prefercite_html_tesm":["\u003cp\u003e[Description and date of item], [Box/folder number], Arthur Jacknowitz Faculty Papers, A\u0026amp;M 4660, 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], Arthur Jacknowitz Faculty Papers, A\u0026M 4660, West Virginia and Regional History Center, West Virginia University Libraries, Morgantown, West Virginia."],"processinfo_html_tesm":["\u003cp\u003eThe creator's original folder titles were preserved while processessing this collection.\u003c/p\u003e"],"processinfo_heading_ssm":["Processing Information"],"processinfo_tesim":["The creator's original folder titles were preserved while processessing this collection."],"scopecontent_html_tesm":["\u003cp\u003eThis collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. \u003c/p\u003e\n","\u003cp\u003eThe collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.\u003c/p\u003e\n","\u003cp\u003eThe collection is organized into six series.\u003c/p\u003e\n","\u003cp\u003eSeries include:\u003c/p\u003e\n","\u003cp\u003eSeries 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.\u003c/p\u003e\n","\u003cp\u003eSeries 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. \u003c/p\u003e\n","\u003cp\u003eSeries 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.\u003c/p\u003e\n","\u003cp\u003eSeries 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.\u003c/p\u003e\n","\u003cp\u003eSeries 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including \u003ctitle\u003ePharmacy Times\u003c/title\u003e and \u003ctitle\u003eU.S. Pharmacist Hospital Edition\u003c/title\u003e.\u003c/p\u003e\n","\u003cp\u003eSeries 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)\u003c/p\u003e","\u003cp\u003eThis series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.\u003c/p\u003e","\u003cp\u003eThis series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.\u003c/p\u003e","\u003cp\u003eThis series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.\u003c/p\u003e","\u003cp\u003eThis series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.\u003c/p\u003e","\u003cp\u003eThis series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including \u003ctitle\u003ePharmacy Times\u003c/title\u003e and \u003ctitle\u003eU.S. Pharmacist Hospital Edition\u003c/title\u003e.\u003c/p\u003e"],"scopecontent_heading_ssm":["Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents","Scope and Contents"],"scopecontent_tesim":["This collection contains the personal and professional papers of longtime West Virginia University School of Pharmacy professor Dr. Arthur \"Art\" Jacknowitz. Notable materials include course materials, original drafts, article reprints, lecture notes, and correspondence. ","The collection also includes several framed awards and plaques, as well as a variety of scientific journals and trade publications. Highlights include Jacknowitz's diploma from the Philadelphia College of Pharmacy, materials from WVU School of Pharmacy's Continuing Education Program for Pharmacists and memorabilia from Jacknowitz's Chair in Clinical Pharmacy dedication ceremony.","The collection is organized into six series.","Series include:","Series 1. Teaching and Evaluation Papers, 1973-2018 (boxes 1-3): Materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","Series 2. Research, Scholarship and Service, 1971-2016 (boxes 4 and 5): Materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations. ","Series 3. Personal Correspondence and Memorabilia, 1954-2019 (boxes 6 and 7): Cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","Series 4. General WVU Papers, 1982-2018 (box 8): Papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","Series 5. Publications, 1980s-2000s (boxes 8 and 9): Medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition .","Series 6. Awards, Plaques and Certificates, 1974-2012 (boxes 10 and 11)","This series contains materials relating to Jacknowitz's teaching career, such as course notes, handouts and overhead slides, faculty activities reports, annual reviews and notices of appointment.","This series contains materials relating to Jacknowitz's career advancement such as CVs, pamphlets from professional organizations and symposiums, Jacknowitz's published articles and drafts, and lectures and presentations.","This series contains cards and letters from former students and peers, memorabilia from Jacknowitz's school days, news clippings and photographs.","This series contains papers relating to Jacknowitz's WVU affiliations outside the School of Pharmacy, including the WVU Retirees Association and the WVU Art Museum.","This series contains medical and pharmacy related trade magazines and academic journals not authored by Jacknowitz, including  Pharmacy Times  and  U.S. Pharmacist Hospital Edition ."],"userestrict_html_tesm":["\u003cp\u003ePermission to publish or reproduce is required from the copyright holder. For more information, please see the \u003ca href=\"https://wvrhc.lib.wvu.edu/visit/permissions-and-copyright\" target=\"_blank\"\u003ePermissions and Copyright page\u003c/a\u003e on the West Virginia and Regional History Center website.\u003c/p\u003e"],"userestrict_heading_ssm":["Conditions Governing Use"],"userestrict_tesim":["Permission to publish or reproduce is required from the copyright holder. For more information, please see the  Permissions and Copyright page  on the West Virginia and Regional History Center website."],"physloc_html_tesm":["\u003cphysloc id=\"aspace_b06ecd2c502fe6d9e994dd6cc4077a88\"\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. 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