By Grace Wagner, Reading Room Access Services Supervisor
In Syracuse, we hope that the old proverb, “March comes in like a lion, out like a lamb,” will prove true when it comes to winter weather. This year, however, the expression takes on a different meaning.
The March SCRC had planned for, complete with events for celebrating Syracuse University’s sesquicentennial (and official 150th birthday!) on March 24, and the Brodsky Conservation Lecture and Workshop on March 25 and 26, has drastically shifted, in the wake of the COVID-19 national emergency. Public events have been postponed, and we are ending March on a quieter note, as Syracuse University and SCRC shift to operating remotely.
Looking Back at February & March Events:
Wednesday, February 26, 2020: Black Arts Movement Popup Exhibit ENCORE, 5:15 – 6:15 pm, Hillyer Room (606 Bird Library). Popup exhibit complementing the Humanities Center’s “Black Music and Black Power in the Era of #BlackLivesMatter” lecture. Check out SCRC’s blog post here.
Friday, March 6, 2020:Unfaithful Mini-Seminar with Carol Faulkner, 10:00 am-12:00 pm, Lemke Seminar Room (Bird Library). Mini-seminar led by Professor of History and Associate Dean Carol Faulkner, discussingher recent book, “Unfaithful: Love, Adultery, and Marriage Reform in Nineteenth-Century America.” Check out SCRC’s “Unfaithful” book review here.
Brodsky Lecture Series Postponed: Anna Laganà from The Getty Conservation Institute will be speaking on “The Conservation of Plastics in Museum Collections: a challenging path” at a later date. Please check our Brodsky Series page to learn more about past speakers and workshops.
2020 SCRC Faculty Fellows Program Deadline Extended: SCRC has extended the deadline to Friday, April 17th at 5 p.m. for two faculty fellows interested in providing students with an opportunity to handle, analyze, and interpret SCRC’s primary source materials in their classes.
Happy Birthday, SU!
If you’re looking for more ways to celebrate the big 1-5-0 with SU, check out this roundup of sesquicentennial coverage:
The Orange in National Orange Day: And, if you didn’t catch our blog post on the SU school colors the first time around, Meg Mason leads the discussion here as well.
Finally, we’ll let the 1970s music and campus footage featured in the video below, posted by SCRC’s University Archives Facebook page, play us out:
The postcard featured in the header image of this post is from our Syracuse University Postcard Collection (Syracuse University Postcard Collection, University Archives, Special Collections Research Center, Syracuse University Libraries). This collection is part of our University Archives collections.
Syracuse University was founded on March 24, 1870, when its Board
of Trustees signed the University charter and certificate of incorporation. The
day is now known as National Orange Day, so today is a great time to explore
how the University adopted the color orange.
Orange wasn’t the University’s first color. According to the University Herald, “after an uproarious time, the students adopted Rose Pink and Pea Green, as the University colors” on June 24, 1872. Apparently, there was much disagreement at the time over the color green since many preferred sky blue. That opinion appears to have eventually won out, since the colors were changed to rose pink and azure, a fancy way of saying pink ‘n blue, just a year later.
In really old collections in the University Archives, you may come across evidence of SU’s earlier colors – or at least pink and blue. I’ve yet to find the pink and pea green color combination in our collections, but the Archives does hold old diplomas bearing pink and blue ribbons, and the colors appear elsewhere, although they’re difficult to find. Howard Dixon Mitchell, Class of 1887, kept a scrapbook that has proven to be a rich resource of late 19th century student life at Syracuse University. One of the first pages of this scrapbook reveals a beautifully preserved set of pink and blue ribbons, along with Mitchell’s poem about his college years.
Pink and blue seemed to hold out for a while, but SU students came to find them unsuitable and babyish, especially for athletic events. At the Class of 1890’s 50th reunion, alumnus Frank J. Marion recalled how his class was responsible for the color change. That spring of 1890, the seniors were celebrating SU’s track meet victory over Hamilton College. Marion described how the men students carried canes bedecked with pink and blue ribbons. But when they tried to “whoop it up” after the meet, the pink and blue colors deflated their enthusiasm:
“What kind of ‘whoopee’ can be made with pink and blue, the pale kind you use on babies’ what-do-you-call-thems? It just couldn’t be done!”
Frank J. Marion quote from Syracuse University, The Critical Years, v. 3, 1984 (Wilson, Galpin, Barck).
Soon after, members of the senior class received permission from Chancellor Sims to form a committee to change the University colors. Professor J. Scott Clark was chair of the committee, and he consulted Baird’s Manual of American College Fraternities, which listed college and university colors. They discovered that no other college or university had claimed the singular color orange and it was up for grabs. By June 1890, the color orange had been adopted by Syracuse University.
SU students embraced the new color, but very early instances of orange are challenging to find in the University Archives. A Glee and Banjo Clubs program from 1891 has been the earliest use of orange I’ve found in the collections so far – once again, tucked away in an old student scrapbook.
This is not to say we don’t have a lot of orange in the University
Archives’ collections – we do! The color has become such an emblem of the
University, saturating its history, from pennants and athletic uniforms to Otto
the Orange, and even the name of the student newspaper, The Daily Orange.
We find orange all over the place in the
University Archives: memorabilia, such as reunion buttons and beanies;
publications, posters, yearbooks, and color photographs; and even letterheads
on University correspondence.
Even we archivists get in on it. At special events like National Orange Day and Orange Central, the University reunion and homecoming weekend, we break out our orange cardigans. We’re always on the lookout for professional orange-wear!
We wish you all a very orange day as we mark
the official date of Syracuse University’s sesquicentennial on National Orange
The Syracuse University Student Publications Reference Collection (Syracuse University Student Publications Reference Collection, University Archives, Special Collections Research Center, Syracuse University Libraries), Syracuse University Alumni Associations and Clubs Records (Syracuse University Alumni Associations and Clubs Records, University Archives, Special Collections Research Center, Syracuse University Libraries), Gertrude A. Shepherd Scrapbook (Gertrude A. Shepherd Scrapbook , University Archives, Special Collections Research Center, Syracuse University Libraries), and Howard Dixon Mitchell Scrapbook (Howard Dixon Mitchell Scrapbook , University Archives, Special Collections Research Center, Syracuse University Libraries) are part of our University Archives collections.
By Courtney Asztalos, Plastics and Historical Artifacts Curator and Jana Rosinski, Curatorial Assistant for Plastics and Historical Artifacts
The political revolution would only be achievable through a demonstrable form of cultural remaking. In other words, culture was the soil on which politics were played out. In this sense, perhaps culture played a more central role in revolutionary imagining than it is given credit for…
Christopher M. Timson, New Breeds, Old Dreams: Liberator and Black Radical Aesthetics
On February 19th, Syracuse University Libraries’ Special Collections Research Center (SCRC) hosted a special pop-up exhibit on the Black Arts Movement. The Black Arts Movement was an African American-led arts movement that occurred approximately between 1965 and 1975. In the wake of Malcolm X’s assassination, African Americans were redefining their relationship as citizens of the United States. Through the sister movements of Black Arts and Black Power, many institutions of Pan African and African American education were birthed from the labor of the artists and activists who created the works and taught from them. The Black Arts Movement represented Black life amidst, and in reaction to, the vast cultural, political, and social upheaval of the times, through poetry and small press publications, plays, illustrations, artwork, and more. In this post, we will highlight a selection of materials that caught visitors’ attention at the pop-up.
An essential means of bringing art to the people was through music performance. One resource unique to SCRC is an audio recording of musician Gil Scott-Heron’s Live Session at Syracuse University’s Hendricks Chapel on February 8th, 1973. Heron was a poet, musician, and spoken word performer, best known for his famous anthem, The Revolution Will Not Be Televised. We discovered this rare recording within SCRC’s WAER Collection, which consists of non-commercial recordings, all off-air dubs on reel-to-reel tapes. WAER is a local Syracuse radio station that was student-run until 1983. Recorded around the time of the release of Scott-Heron’s second studio album, Free Will, the themes of the performance reflect his centering of the Black experience, including respect for natural Black hair, Black pride, and the fight for the visibility of Black culture in white-dominant mainstream culture.
Paramount to the Black Arts Movement was the social activist, poet, playwright, editor, novelist, music critic, and credited founder of BAM, LeRoi Jones, who became known by his adopted name Imamu Amiri Baraka during the 1960s and 1970s. SCRC holds the papers of LeRoi Jones (inclusive dates 1957-1968), a collection that permits researchers a unique perspective into the early years of BAM. One selection from Baraka’s papers included in the pop-up was Baraka’s take on “The Task of the Negro Writer As Artist,” published in a 1965 issue of Negro Digest. The importance of Negro Digest to BAM was crucial as it was the only journal of the movement that could be purchased at major newsstands. In this largely circulated essay, Baraka speaks to the necessity of centering the Black experience within Black consciousness:
The Black Artist must draw out of his soul the correct image of the world. He must use this image to band his brothers and sisters together in common understanding of the nature of the world (and the nature of America) and the nature of the human soul.
LeRoi Jones (Imamu Amiri Baraka)
Baraka’s writing is an early example of the emergence of BAM’s new Black consciousness and his essay sits among a range of intergenerational dialogues and perspectives in this issue.
Baraka was also foundational part of the opening of the Black Arts Repertory Theatre and School (BARTS) in Harlem, authoring plays alone and collaborating with other artists like Sun Ra, Albert Ayler, and Sonia Sanchez. Black theater was expanding in new directions motivated by the imperative to bring the full depth of the Black experience to Black audiences. BARTS inspired many other Black theaters and performances, like this spoken word performance by the Young Spirit House Movers.
In The Autobiography of LeRoi Jones, Baraka writes, “Bringing art to the people, black art to black people, and getting paid for doing it was sweet. Both the artists and the people were raised by that experience.” One specific example is found within SCRC’s Grove Press Records. It is no surprise that this handmade manuscript of Black student voices growing up in the Movement was submitted to Grove Press, known for its progressive publications.
The cover features an illustration of James Brown and, in fact, “Say It Loud – I’m Black and I’m Proud”, seems to be echoed in the opening poem by student Rhonda Brown. Within the manuscript is poetry and prose, short stories, plays, slogans, statements and questions from contributing students showcasing their own art contributions.
I am Black and that’s alright I am Black and that’s out-of-sight I am Black and you can’t change it I am Black and my mother arranged it I am Black and I have my rights I am Black and I will fight I am Black and still will be when I’m buried in my grave I am Black and I’ll say it again I am Black until the end.
“Blackness” by Rhonda Brown
Bessie Frazier, a teacher at Broadway Junior High School, submitted this collection of student work (as editor and author) to Grove Press. Prior to being a teacher, she was a member of Fisk University’s Writer’s Workshop where she studied with important Black voices, mainly those of Nikki Giovanni and John O. Killens. This incredible snapshot into the lived experiences of Frazier and her students helps us to better understand actual perspectives of students and teachers learning during the time of the Black Arts Movement.
Though not planned, the pop-up coincided with the #NotAgainSU student protests on campus, making the exhibition particularly poignant. Prompted by a series of acts of hate late in the fall 2019 semester, that have continued surfacing into the spring 2020 semester, BIPOC students have called for administrative action to support vulnerable students through the creation of spaces, funding and programs for students of color, and faculty and staff hires that better reflect student identities. This call for the condemnation and elimination of oppressive campus culture, and the vital need to make space for the sowing and proliferation of BIPOC cultures for themselves, could have come from the very pages of materials featured in this exhibition. The student movement can be followed on their social media accounts: @notagain_su on Twitter, and notagain.su on Instagram.
If you’re interested in learning more about the SCRC Black Arts Movement resources available, you can further explore the resources through an earlier SCRC online exhibition here.
The WAER Collection (WAER Collection, Special Collections Research Center, Syracuse University Libraries), Leroi Jones (Amiri Baraka) Collection (Leroi Jones (Amiri Baraka) Collection, Special Collections Research Center, Syracuse University Libraries), and Grove Press Records (Grove Press Records, Special Collections Research Center, Syracuse University Libraries) are part of the Special Collections Research Center’s manuscript collections.
Baraka, Amiri. The autobiography of LeRoi Jones. Chicago: Lawrence Hill Books, 1997.
Fenderson, Jonathan. Building the Black Arts Movement: Hoyt Fuller and the Cultural Politics of the 1960s. University of Illinois Press, 2019.
Tinson, Christopher M. “New Breeds, Old Dreams: Liberator and Black Radical Aesthetics.” Radical Intellect: Liberator Magazine and Black Activism in the 1960s. Chapel Hill:University of North Carolina Press, 2017. pp. 185-234.
As a musician, I look for music wherever I am. I certainly did not expect to find a manuscript by one of the world’s most famous composers in SCRC’s special collections. When I first found the Franz Liszt Manuscript, I was most interested in contextualizing the music with Liszt’s life and where this piece fits in with the rest of his works.
As soon as I pulled the manuscript from the stacks, I immediately set out to find a recording of the piece. Astonishingly, I had a difficult time finding any reference to it during my first search. There was no record of the piece in any scholarly compilation of Liszt’s works, nor any reference to the piece in any biographies on the composer. After spending too long searching for an easily accessible recording, I asked my friend to sight-read through the music and I was finally able to listen to the piece. From that point on— I was dedicated to learning more about the piece.
The manuscript consists of two separate paper leaves in different sizes. Each leaf has music inscribed on one side only. The first and larger page consists of five musical systems, or lines of music, while the other smaller one contains only two. The title, Marche Funebre, is written at the top of the page. On the second and smaller leaf, Franz Liszt has signed and dated the bottom of the page. The back of the first leaf has an inscription written in handwriting vastly different from Liszt’s writing on the other side. The inscription in French reads “Cette marche funebre fur improvisee par Litz [sic] le surlendemain de la mort de son pere qui fut enterre a Boulougne.” In English, the writing reads “This march was improvised by Litz [sic] two days after the death of his father who was buried at Boulogne.” The piece is accompanied by a letter from Sotheby’s, attesting to its authenticity.
Unsurprisingly, it was Adam Liszt who first introduced his son to music, emphasizing sight-reading, memorization, and improvisation. Adam Liszt cultivated and nurtured his son’s musical talent by taking him on a “Grand Tour” of Europe to display his virtuosity. Thanks to his father, Franz Liszt was one of the most celebrated pianists in Europe by his mid-twenties.
Liszt’s father, Adam, was born on December 16th, 1776, in what is now Slovakia. While not a virtuoso like his son, Adam Liszt worked as a clerk on the estate of the noble Esterhazy family. The Esterhazy family is mostly recognized as the employer of the famous Franz Joseph Haydn. Although Haydn died two years before Franz Liszt was born, Adam Liszt boasted about playing cello in the Esterhazy orchestra under the baton of Haydn himself. Interestingly, Adam Liszt also performed in the Eisenstadt orchestra under Beethoven in 1807. There is no doubt that music played a large role in his life.
In mid-August of 1827, while recuperating with his son from their intense international tour, Adam Liszt fell victim to typhoid fever. On the morning of August 28th, 1827 Adam Liszt died at 50 years old in Boulogne-sur-mer, delivering a crushing blow to his 15-year-old son. This would be the first of Franz Liszt’s many losses. His son, Daniel, would die at the age of 20 in 1859 and his daughter, Blandine, would follow at the age of 27 in 1862. His mother, Anna Lager, would pass only four years later in 1866. After each loss, his natural reaction was to compose memorial music. Les Morts for orchestra and male chorus was composed for his son Daniel; ever-beautiful La Notte for orchestra was composed for Blandine; and the Requiem for two male voices, organ, brass and timpani was finished two years after his mother’s death to commemorate all of his lost family members.
Prior to Adam’s death, Franz Liszt and his father had been inseparable. Liszt’s father was often responsible for every minute detail of his schedule from the beginning of their tour. Liszt’s improvisation, Marche Funebre, is likely the first piece to begin the trend of composing memorial music for those close to him. Franz Liszt’s grief over his father’s death and his overwhelming new responsibilities caused a spiritual crisis within the composer. While the pair had a close relationship, Liszt’s diary from 1827 also indicates the tension he felt between his father’s ambition and his own need to make choices for himself. He withdrew from most public performances and stopped corresponding with his friends and family members for close to 3 years after his father’s death. Researchers have little information about his activities from this time.
Liszt’s composition, Marche Funebre, has never officially been published and, until recently, had never been cataloged among his works. Until its arrival at Syracuse University’s Special Collections Research Center, the manuscript had remained in private hands with no effort to display or publish the work. The manuscript’s journey can likely never be fully re-traced. Before Sotheby’s sale of the manuscript in 1986, the piece was listed in the Maggs Brothers auction catalog in 1921. For a time, the manuscript also belonged to the founder of the Los Angeles Philharmonic, William Andrews Clark Jr.. Clark bequeathed the manuscript to the orchestra’s concertmaster, Sylvain Noack, after his death. The manuscript remained in undisclosed ownership in California from this point until it reappeared at Sotheby’s.
At first listen, Franz Lizst’s Marche Funebre is not as dramatic as other, more recognizable memorial compositions, like Frederick Chopin’s famous Funeral March. However, the complexity of chords and major tones in Liszt’s work create a more subtle and intimate piece of music. The battle between major and minor chords are an source of extreme tension and confusion not only for the listener, but the performer as well.
With the history of the piece in mind, we invite you to take some time to listen to one of Franz Liszt’s most intimate works, performed by Robert DiPasquale.
The Franz Liszt Manuscript (Franz Liszt Manuscript, Special Collections Research Center, Syracuse University Libraries) is part of the Special Collections Research Center’s manuscript collections.
Liszt, Franz. Marche Funebre. 1827. Andrei Anghel, 2019. Digital.
Nugent, George. “The Heroic Idiom in Early Works of Liszt.” Liszt Saeculum, 1993, pp. 46–60.
Quinn, Erika. Franz Liszt : A Story of Central European Subjectivity. Brill, 2014. (37).
By Grace Wagner, Reading Room Access Services Supervisor
International Women’s Day is Sunday, March 8th, 2020 this year. To celebrate the upcoming holiday, SCRC staff members and students have contributed materials highlighting groundbreaking and interesting women or aspects of the women’s rights movement from our collections. Take a look at the contributions below!
The clipping is a political “cartoon” that ran in the New York Evening Journal circa 1915 advocating for issues that would benefit women. The banner reads, “Political equality: Improved social conditions; Equal wages for equal work; Protection for the home; Abolition of child labor; Purer politics; Unfair legal discrimination; Protection for working women.” The cartoon is contained in a scrapbook of Women’s Suffrage editorials in our Brisbane Family Papers.
The Brisbane Family Papers (Brisbane Family Papers, Special Collections Research Center, Syracuse University Libraries) are part of the Special Collections Research Center’s manuscript collections.
This photograph depicts an elderly Greek woman in the town of Naoussa in Paros, which is a southern island in the Cyclades above Crete and to the left of Turkey, known for its beaches, white stone buildings, and tourism. The woman has a soft smile on her face as she peers out from the window at her house. She wears a paisley-printed outfit, likely a long dress down to her ankles, earrings, and a ring on her right ring finger as she leans against her windowsill with her hands joining. There is a small glimpse into the interior of her house with the wooden shutters and white curtains, allowing for some curiosity of the viewer.
The Howard Bond Negatives(Howard Bond Negatives, Special Collections Research Center, Syracuse University Libraries) are part of the Special Collections Research Center’s manuscript collections.
The Mary, Queen of Scots letter holds a special place in my heart. This item was one of the first items I was able to see when I started working at SCRC. In the letter, Mary Stuart, or Mary I of Scotland, proclaims her tolerance for religious worship to quell the opposition of the Scottish church regarding her upcoming marriage to Lord Darnley.
She writes: “The effect is to certifie and assure you that as hitherto we have never permitted stop stay or molestation to you or any others in using your religion and conscience, so may ye look for the same good will and clemency in time coming…”
The Mary, Queen of Scots Letter (Mary, Queen of Scots Letter, Special Collections Research Center, Syracuse University Libraries) is part of the Special Collections Research Center’s manuscript collections.
Vanessa St. Oegger-Menn, Pan Am Flight 103 Archivist
Syracuse University has been a coed institution since its founding in 1870. The University’s first commencement was held at Wieting Opera House in downtown Syracuse on June 27, 1872. Among the 19 graduates – nine with a Bachelor of Arts, 10 with a Bachelor of Science – was Mary L. Huntley, the only female member of the Class of 1872.
Sarah Loguen was one of the first African American women to earn a medical degree from Syracuse University’s College of Medicine, graduating in June 1876. She went on to be one of the first African American women to become a physician in the United States and the first woman licensed to practice medicine in the Dominican Republic. Loguen’s name is listed in 1875-1876 Annual, held by the Syracuse University Archives.
Kate E. Stark was Syracuse University’s first woman faculty member. She was hired as an instructor of vocal music in the College of Fine Arts in 1883, and later became a professor in the same field in 1884.
The portraits of Huntley and Stark are part of our Syracuse University Portrait Collection (Syracuse University Portrait Collection, University Archives, Special Collections Research Center, Syracuse University Libraries) are part of our University Archives collections.
Nicole Westerdahl, Reference and Access Services Librarian
Marguerite Higgins (1920-1966) was an American reporter and war correspondent. Higgins is here pictured in Korea, where she covered the Korean War for The New York Herald Tribune. In 1951, she became the first woman to win the Pulitzer Prize for International Reporting.
The Marguerite Higgins Papers(Marguerite Higgins Papers, Special Collections Research Center, Syracuse University Libraries) are part of the Special Collections Research Center’s manuscript collections.