Category Archives: Archives

The Black Theology Papers Project | guest blogger Heather J. Ketchum

by Carolyn Bratnober on November 15, 2019

NOTE: The following was written by Union Theological Seminary student Heather J. Ketchum (MDiv 2020). Her brief bio is below.

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This week, the American Academy of Religion and Society of Biblical Literature convene in San Diego for the annual AAR/SBL conference, and this year, I was pleased to collaborate with faculty and librarians at the Burke Library on an exciting new online resource related to the conference: the Black Theology Papers Project. This online repository, which launched this week in honor of the 50^th anniversary celebration of Dr. James H. Cone’s Black Theology and Black Power, “aims to preserve and promote the intellectual heritage of black theology.”

The project provides electronic access to many of the papers and presentations given at the Black Theology Unit panels at the annual AAR/SBL conference. Thousands of scholars in religion-related areas gather in scores of small groups (or units) such as the Black Theology Unit at AAR/SBL, usually the week before Thanksgiving. These groups host panels on various themes such as “Racial Liminality and Cruciform Bodies in Cone and King” or roundtable discussions over recently published works like Josef Sorett’s Spirit in the Dark: A Religious History of Racial Aesthetics (Oxford University Press, 2016). These papers and presentations are wonderful glimpses into the ongoing work in the field.

Because of travel costs, scheduling, and other factors, many people who would otherwise love to engage in conversations around the cutting edge of religious scholarship cannot attend. Thus, Adam Clark, Andrea C. White, and Josef Sorett put together the Black Theology Papers Project, or BTPP, in the hope of expanding the availability of these papers beyond the yearly conference, making the scholarship more accessible and preserving the brilliant work going on in the discipline of black theology.

My role in this was helping take the papers emailed to the unit co-chairs and formatting them to a uniform journal template and then uploading them to the website. The process involved lots of split screens and a great deal of copy/paste.

split computer screen with on the left a pdf unformatted form of authors document (here, M. Rufus Burnett Jr.’s paper, entitled “Afro-Christian, Afro-Blue: Land Based Autonomy and the Making of Blues Identities at the Turn of the 20th Century”) and on the right a word document with the paper formatted in the journal template

This is how my workstation looked while working on the Black Theology Papers Project

This large-scale digital project was constructed in collaboration with the Columbia University Libraries, and with staff at the Burke Library at Union Theological Seminary. Columbia uses an online platform called OJS (Open Journal Systems) which is put out by the Public Knowledge Project. Columbia has a host of other online journals put out by various groups affiliated with the university. Once the article has been formatted, it is ready to be uploaded to OJS along with a signed Author Agreement and general information about the author. The BTPP journal is broken up by years and sections how a print journal would be except it is exclusively an online format. The final product (as of November 18th, 2019) looks like this:

The Black Theology Papers Project

It has been a wonderful project to work on and help launch! We hope that you will explore the site at https://journals.library.columbia.edu/index.php/btpp and learn a bit about the current happenings in Black Theology. –Heather J. Ketchum

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Heather J. Ketchum is a third-year MDiv student at Union Theological Seminary (NYC) concentrating in Systematic Theology. During her studies at UTS, Heather has worked at the Burke library as a Circulation Assistant and, more recently, assisting in the Burke special collections and archives. Heather is a Research Assistant for Andrea C. White, Professor of Theology & Culture at UTS, and the Assistant Minister at Madison Avenue Baptist Church. When not reading and writing about theology, Heather enjoys exploring the New York craft coffee scene.

Greetings from the Archives: Leah’s First Big Offsite Project

by le2347 on October 15, 2019

Happy (mid) October, and happy American Archives Month! I’m Leah Edelman, the Outreach Archivist at the Burke Library, and though I started working here at the end of June, I thought this month would be a good one to introduce myself on the blog.

With support from the wonderful library team, I manage all things archives here at the Burke. I provide reference and research support for archival collections; I work with UTS, Columbia, and Barnard faculty and students on course-based archival planning and teaching; I acquire, process, and create description for archival collections using ArchivesSpace, an information-management system designed specifically for archives; and I supervise the work of student assistants on archival projects.

One of my first priorities upon starting at the Burke was to move a number of archival collections to our offsite Research Collections and Preservation facility (ReCAP). Columbia University operates ReCAP jointly with the New York Public Library, Princeton University, and most recently with Harvard University. This fully climate-controlled facility in New Jersey houses over five million books and archival collections from Columbia University, and allows Columbia’s individual libraries and repositories to accommodate new acquisitions, provide larger study spaces, and better preserve historical collections. And don’t worry: materials housed off-site at ReCAP are still accessible at the Burke, they just take a day or two to get here once we place your request!

So how does the transfer process work? First, Head of the Burke Matthew Baker and I consulted on which collections might be good candidates to move offsite. We considered factors including recent research use, size of the collection, level of existing description for the collection, and current location.

We have a number of collections storage locations here at Burke, some more or less easily accessible, and some more or less crowded. Ideally, we’d like all collections to live safely in shelving units (not on top of them, and not on wire carts).

Archive storage boxes on a wire cart in the Burke Library

Archive storage boxes on a wire cart at the Burke Library

Those using the restrooms or stopping by L4 during the summer months may have noticed the next phase of the transfer in action: staging boxes for barcoding (each box gets a unique barcode, which gets scanned and linked to the collection record in CLIO), and then loading them onto the wooden ReCAP carts to await transfer. The carts hold five record cartons or 20 document boxes, and we filled 60 carts!

Large wooden shelving units on wheels, each containing about twenty archive storage boxes, at the Burke Library

Wooden carts full of archival storage boxes, on level L4 of the Burke Library, awaiting transfer to the ReCAP offsite storage facility

All together, we sent 1,019 boxes from 34 collections off-site this summer. That creates a lot of space! We’re aiming for one more similarly sized ReCAP transfer in December. In the meantime, I hope to continue meeting lots of wonderful students, staff, and faculty, presenting “intro to archives” sessions for classes, and getting to know the collections and treasures housed here at the Burke Library.

If you’ve got questions about archives (such as: so, what are archives? What does an archivist do?), about collections at the Burke, about using archival materials in your research or in your class, or about anything at all, please be in touch! Say hello any time, in person on L4, or online at leah.edelman@columbia.edu.

And in honor of American Archives Month, here are some archive-y things I’m thinking about this month:

Dietrich Bonhoeffer on Microfiche: the Nachlass Collection

by Carolyn Bratnober on August 9, 2019

“Microfiche is cool” is a sentence one rarely hears any more, in the Internet age. Yet I am constantly reminded of the astonishing efficiency of microformatting, when researchers ask to see the collection of primary-source materials of Dietrich Bonhoeffer—noted German theologian, pastor, and anti-Nazi dissident, and onetime student at Union Theological Seminary—preserved on microfiche, collectively known as the Nachlaß (“Nachlass,” or Estate) collection. This microfiche collection is decidedly cool—so much so, in fact, that we decided to create an entire exhibit about it.

The Nachlaß includes many of Bonhoeffer’s early writings and personal papers, his research notes, and letters from prison. Most of Bonhoeffer’s original manuscripts and papers have been preserved in the Staatsbibliothek zu Berlin, with some primary documents in English kept here at the archives of the Burke Library at Union Theological Seminary. These two libraries possess the only two known copies of the complete Nachlaß microfiche collection in the world (that our staff is aware of), making this collection both unique and invaluable to researchers. Each “twin set” of microfiche contains an enormous quantity of material: several thousand fragile documents, condensed into a breadbox-sized collection of roughly 300 plastic fiche cards. The Nachlaß is one of the most frequently-used microfiche collections at the Burke Library.

Photograph of a microfiche card from the Dietrich Bonhoeffer Nachlass collection of primary-source documents. Archives of the Burke Library at Union Theological Seminary, Columbia University Libraries.

What is microfiche, exactly? (Those who have always lived in the same world as the Internet, after all, might never have heard of it before.) Well, microform technology—including microfiche cards and microfilm reels—originated in the early 1800s with the advent of photography. It became widely popular in libraries and archives in the mid-20th century as a reproduction and preservation medium (before the days of Internet digitization and online exhibits). Documents are photographed and printed as tiny images, which can then be inserted in a reader machine and enlarged on large reader screens, allowing readers to view and skim materials at a relatively fast pace. Microform plastic is sturdy, durable, and highly portable (think: a single plastic fiche card containing 80 document images, compared to a folder of 80 loose sheets of paper). Images of documents on microfiche can be seen by a large audience, while the original fragile documents are kept in archival storage. Microfiche was one of the original digital media! Thousands of printed books and journals have been microformatted, as have several rare manuscripts and primary-source collections—such as the Bonhoeffer Nachlaß.

Collecting and preserving Dietrich Bonhoeffer’s papers and creating the Nachlaß collection was a monumental undertaking. Following Bonhoeffer’s death in 1944, his letters and documents were meticulously collected by his close friend Eberhard Bethge, in collaboration with the Bonhoeffer family. Bethge devoted much of his life to editing and publishing Bonhoeffer’s works, such as the Letters and Papers from Prison and Ethics, and wrote the first biography of his professor, Dietrich Bonhoeffer: Man of Vision, Man of Courage in 1967. Amidst the subsequent surge of interest in Bonhoeffer, it was Bethge, along with his colleague Dietrich Meyer, who spearheaded the idea of creating a microfiche collection of Bonhoeffer’s papers, for use at “various Bonhoeffer research centers” in the 1980s. The Burke Library acquired the microfiche collection with the facilitation of Professor Clifford Green, Bonhoeffer Chair Scholar at Union Theological Seminary, and former Burke Library archive specialist Ruth Cameron. Now researchers can have eyes on original primary-source documents, written in Bonhoeffer’s own hand, via the microfiche copies, while the originals are housed in storage.

Page from a notebook belonging to Dietrich Bonhoeffer

A page of Dietrich Bonhoeffer’s handwritten notes for a course, “Religion and Ethics,” taught by Reinhold Niebuhr at Union Theological Seminary in the early-1930s, imaged from the Nachlass microfiche collection. Archives of the Burke Library at Union Theological Seminary, Columbia University Libraries.

Our newest exhibit showcases some rarely-seen materials from Bonhoeffer’s days as a student at Union Theological Seminary in the early-1930s, such as the above image of handwritten notes Bonhoeffer took in a “Religion and Ethics” course taught by Reinhold Niebuhr, enlarged and printed from Nachlaß microfiche onto plain 8.5 by 11 inch white paper. This medium reflects the mode in which researchers view microformatted primary-source materials today, and we hope this exhibit raises questions and curiosity about accessibility, duplication, and preservation in the 20th century and the Internet era.

Photograph of the exhibit case housing the Dietrich Bonhoeffer Nachlass microfiche collection exhibit

Photograph of part of the exhibit case housing the Dietrich Bonhoeffer Nachlass microfiche collection exhibit at the Burke Library at Union Theological Seminary.

The original documents are housed in the Dietrich Bonhoeffer Primary Sources collection in the Burke Library Archives. The exhibit is currently on view at the Burke Library at Union Theological Seminary, 3041 Broadway, on the ground floor (Level L1) exhibit space. It will be on view through January 2020.

The Burke Library Goes International

by jmw2202 on March 22, 2019

One of the great joys of working at an educational institution is the chance to meet and interact with students, teachers, and researchers from all over the world. At the Burke, that kind of interaction usually takes place when people come to visit us in New York City. But recently I had the distinct pleasure of bringing a little piece of the Burke overseas to the wonderful town of Provins, France.

The Fonds ancien et Archives de Provins. (Photograph by Jeffrey Wayno, 2019)

Provins, which is situated a little more than 50 miles to the southeast of Paris, is a town of about 12,000 people. Since 2001, it has been listed as a UNESCO World Heritage Site because of its remarkably well preserved medieval architecture, which includes its twelfth-century walls, a massive fortified tower at the center of the Upper Town, and several beautiful medieval churches. The town is also home to the Fonds ancien et Archives de Provins, the local municipal library and archive which houses, among its many treasures, a magnificent collection of medieval manuscripts and documents. In 2009, Columbia University and City of Provins forged a special partnership, which has given students and scholars at Columbia access to Provins and its many historical sites and cultural artifacts.

Workshop participants examine medieval documents and liturgical manuscripts held in Provins (photograph by Jeffrey Wayno, 2019)

In the summer of 2010, just after the first year of my doctoral program in medieval history, I had the good fortune to be among the very first researchers to visit Provins from Columbia. I spent three weeks in July exploring Provins’ archive and the manuscripts it contained. Two weeks ago, after almost a decade-long absence, I had the good fortune to return to that same archive to help lead a special workshop on medieval documents and liturgical manuscripts. Organized by Susan Boynton, Professor of Historical Musicology at Columbia, the workshop brought together eight graduate students past and present (from Columbia and Union Theological Seminary!) who share an interest in the history, music, and religious culture of medieval Europe. Over eight days, we dug into the contents of more than a dozen medieval manuscripts, learned from one another, and shared laughs and a good helping of fellowship over many meals.

Jeffrey Wayno (standing) with graduate students from Columbia and Union Theological Seminary (seated) during the workshop. Photograph by staff at the Fonds ancien et Archives de Provins (2019).

The entire week in Provins was great success, in large part due to the organization and tireless hospitality of two individuals: Susan Boynton and Luc Duchamp, the longtime director of the Fonds ancien et Archives de Provins. But as the week progressed, I was also reminded how the best kind of intellectual experiences are often determined by the people who take part in them—and how the best kind of learning is often communal—and collaborative—in nature. What made this workshop both special and also productive was the group itself. Yes, our daily work sessions in the archive were always interesting and thought-provoking, simply because of the manuscript material displayed before us. But it was also our conversations over dinner or while walking around town in search of the best almond croissants, that we bonded over our shared love of a remarkable period in history. By the end of the week, our discussions, which were as wide-ranging as they were interesting, flowed freely from the library to the restaurant, from the work table to the dinner table.

Participants on the last day of the workshop. Photograph by staff at the Fonds ancien et Archives de Provins (2019)

Many people who pass through the halls of today’s universities never realize how the very word university (from the Latin “universitas”) is imbued with the idea of community and shared experience. The university is a product of the medieval world, a time when collectivism in many ways trumped the individualism that has become the norm today. Even as someone who studies the Middle Ages, I am not sorry that the medieval period is behind us. But I do hope that the very medieval notion of a shared intellectual community—universitas—lives on. In our busy lives, it is easy to lose sight of the importance of making the process of intellectual discovery a truly shared enterprise. Two weeks ago, in Provins, a group of us did our best to keep that torch of intellectual discovery aflame. And we are already hoping to plan a second installment of this workshop next year. -JMW

Queering the Archives at Union Theological Seminary

by Carolyn Bratnober on March 8, 2019

Students in the course Christian Ethics 223, “Queering Ethics,” taught by Prof. Sarah Azaransky at Union Theological Seminary, visited the Burke Library on Wednesday, March 6th, to discuss queer frameworks of power, authority, and queer subjecthood in relation to archives. The class and I delved into hands-on archival inquiry with the papers of emilie m. townes, a former professor at Union and currently the Dean of Vanderbilt Divinity School, a self-identified lesbian and a leading figure in womanist thought. We framed our activity with discussions of archival theory, with readings from Derrida and Foucault among others. The students debated the ethics of archival acquisition processes and research — especially as it affects the history and lives of lesbian, gay, bisexual, transgender and queer (LGBTQ) persons today. For several of the students, this encounter at the Burke Library was their first time handling archival documents.

Students enrolled in CE 223 “Queering Ethics” taught by Prof. Sarah Azaransky at Union Theological Seminary, examining an archival document folder at the Burke Library. This photo appears on the Burke Library’s Instagram account @BurkeLibraryUTS

In preparation, the eighteen masters-level students in the class read a literature review of theoretical views of the archive by Marlene Manoff titled “Theories of the Archive from Across the Disciplines” (Libraries and the Academy, 2004, 4:1). We framed our discussion around ethical issues at play in critical archive studies when it comes to the custodianship of both literal archives as well as the proverbial collective archives of social memory. If, as Derrida says, “There is no political power without control of the archive,” who decides what is kept in the archive, and how is their political power sustained? When it comes to topics in LGBTQ studies, especially in art, literature, and political movements, key figures often defy typical organizational frameworks, and resist categorization. How do researchers identify a gay or transgender writer, for example, who spent their early life in the closet, and was not labeled as such or recognized for their work (or their identity) until later in time? What are the power dynamics at play for archivists, in curating and making primary-source materials of these figures available and searchable for scholars? How do researchers with questions pose their inquiries without being imposing on, or intrusive to, queer subjects? Hefty questions indeed. After a break, we shifted gears from discussing archival processing to handling materials from the emilie townes papers first hand.

The students worked in pairs to examine the contents of one document folder each from the emilie townes papers, including some manuscript writings from early in her PhD program. One group found that some of Dr. townes’s personal research notes had been typewritten on the back of what appeared to be event flyers or inserts for church program booklets. The students speculated it may have been to save paper, but the reason was not readily apparent; we were unable to tell from the Finding Aid whether the existence of these flyers had been previously documented at all. One of the event flyers (pictured below) advertised a 1987 event called “Homosexuality and the Church” at Faith United Methodist Church, in Downers Grove, Illinois — a particularly eye-catching object, given the present ongoing debates concerning homosexuality in the UMC denomination. (Leaders at the recent UMC General Conference in St. Louis, MO, debated and voted to reaffirm the current stance of the denomination, that “the practice of homosexuality is incompatible with Christian teaching.” But the debate continues, as numerous LGBTQ-affirming UMC churches around the world maintain the contrary stance, in welcoming solidarity with their LGBTQ communities.) It is truly a pressing issue, one that is deeply personal to me and to many students at Union. Yet, from a cursory look, without apparent information about this document, we cannot know how it came to be among her papers, nor what role this event played in Dr. townes’s life and education. A key takeaway from this exercise, predictably, was that archival documents often raise more questions than answers.

“Homosexuality and the Church” event description page, on the verso of a typewritten document of research notes, from the emilie m. townes papers, series 2, box 2, folder 3, Archives of Women in Theological Scholarship, the Burke Library at Union Theological Seminary, Columbia University in the City of New York.

Some of these masters-level students are beginning to consider the possibilities for continued graduate study, and possible projects for future archival inquiry. Some students are even considering collaborating on a potential project on the LGBTQ history of Union Theological Seminary together, requiring extensive time in the UTS records held at the Burke archives. Such a project would be a hefty undertaking, but one of great value to the community here, I have no doubt. In the end, the session received a greatly positive response, and it seems these intrepid students thoroughly enjoyed their close encounter with the archives.

Color Our Collections at the Burke Library

by Carolyn Bratnober on February 22, 2019

For the second year in a row, the Burke Library participated in a worldwide weeklong initiative to spread awareness and engagement with Special Collections known as Color Our Collections.

Poster for Color Our Collections, February 2019. Image resembles a colored-in picture from a medieval manuscript of two people drawing.

Poster for Color Our Collections Week 2019 (http://http://library.nyam.org/colorourcollections)

In this series of events, initiated by the New York Academy of Medicine, libraries and museums around the world upload black-and-white versions of images in their Special Collections to create unique coloring books for users to color-in with pencils. (Coloring, traditionally an activity associated with young children, has grown in popularity among adults of all ages in recent years, for its relaxation effects and impact on mindfulness and calm; many bookstores now carry coloring books for adults, and lately I have seen multiple people my own age coloring in coloring books on airplanes.) During Color OurCollections Week, many institutions host coloring events and offer printed versions of their coloring books. Guests can attend these coloring events or visit ColorOurCollections.org and download coloring books from libraries and museums around the world. Participants can upload photos of their creative coloring to social media using the hashtag #ColorOurCollections and see others’ posts and explore the collections from far-flung institutions. This lets users explore and engage through hands-on experience with their collections from home. The Burke Library uploaded a coloring book chock full of images from the archives, rare books and manuscripts.

Image is the cover of a student publication called The Plastic Bag from 1968, image shows a rhinoceros being lifted by balloons with the title "the free university: lifting the weight"

Image from the Burke Library 2019 #ColorOurCollections Coloring Book, “The Plastic Bag” student literary publication, circa 1968 (from the Union Theological Seminary Records, Archives of the Burke Library at Union Theological Seminary, New York)

There are many wonderful coloring books available on this year’s Color Our Collections page from other libraries and institutions; our colleagues at the Beinecke Rare Book & Manuscript Library at Yale University uploaded a very fine selection of images, and the New York Academy of Medicine (the original founders of Color Our Collections) always include intriguing health-related and scientific images from their special collections. From outside the U.S., the Escuela Superior de Artes de Yucatán and Museum für Kunst und Gewerbe Hamburg coloring books were both beautiful. Having been raised going on canoe trips in the north woods of Minnesota, I was intrigued by the coloring book from the Grand Portage National Monument Archives, featuring images of Ojibwe artwork, birch bark canoes, and the region’s natural features.

Page from the Color Our Collections 2019 coloring book of the Grand Portage National Monument Archives. Image is a black-and-white edited photograph of a room in a museum featuring a birch bark canoe and indigenous artwork from Minnesota.

Page from the Color Our Collections 2019 coloring book of the Grand Portage National Monument Archives (https://library.nyam.org/colorourcollections/grand-portage-national-monument-archives-collection-coloring-book-2019)

The Burke Library’s own on-site Color Our Collections event, featuring complimentary tea and snacks, drew about a dozen guests, including students from Union Theological Seminary and Columbia University, as well as a few library staff members who saw a poster for the event and decided to drop in on their lunch break to do some coloring.

Photograph from the Color Our Collections 2019 coloring event at the Burke Library at Union Theological Seminary, Columbia University

Participants seemed intrigued by the images from the Burke’s collections, engaged in lively conversation about the history of the Burke and its role in the university, and appreciated the fact that we hosted such a nice event open to the community. Some of them took extra coloring books to give to friends. We promoted the event on social media, and some of our remote followers commented requesting links to the site so they could download their own coloring books. Having been alerted to the existence of Color Our Collections last year by Myong Jin, the Collections Assistant at the Burke Library, I was very glad to have collaborated with her again put on our second such successful event this year, and look forward to hosting it again in 2020.

“Spirit of ’68” Part II: Research in the Administrative Files

by Carolyn Bratnober on October 26, 2018

By Jake Hearen, Student Research Assistant for the “Spirit of ’68” Exhibit

(Posted c/o Carolyn Bratnober, Public Services Librarian)

I came to Union a bit behind the power curve. My formal involvement within a theological framework is relatively new. I had not heard of James Cone until I visited in the spring; I promise his books are near the top of my reading list. So, I jumped at the opportunity when I heard about Special Collections needing assistance with researching for the upcoming exhibit.

I realized how daunting the project as I became oriented to the particulars of the project. At its focus was the Union Commission and its predecessor organization, The Free University of Union Theological Seminary. These initiatives resulted in response to the tensions between Columbia students and the administration brought about by the Vietnam War and the gentrification brought of Columbia’s expansion affected the Union community.

In its entirety, the project was a single archival box stuffed with materials mostly from the 1968-69 school year but other documents appeared to include several that came from far beyond the walls of Morningside Castle. There were a few student publications from Columbia regarding the student protests. There were even a few standout pieces such as an international gathering of college students and a manifesto from the 1969 National Black Economic Development Conference.

Archival folders in UTS2 Records, Administrative Files, Series 4B, Box 2, The Burke Library at Union Theological Seminary, Columbia University, New York NY

But what stood out most came from within the seminary. One letter, drafted by a student who witnessed seminarians severely injured while mediating between police and Columbia students, noted how our unique role as future chaplains and ministers allows us to instill change from within power structures more than any other vocation. Another document from the Union Commission itself highlighted the values of the seminary such as looking at the potential application of computers as technology evolves and the importance of the Burke Library.

This institutional memory clarified the gaps I felt between an earlier Union with activists like Dietrich Bonhoeffer and the later of James Cone. Those seminarians stood defiant with their peers before the atrocities beset upon an Eden and said no more. Their spirit of coming together against the destructive will of institutional corruption with compassion in their hearts is something that I pray I embolden over my next few years and the many more to come. -JH

“Spirit of ’68” Part I: Building an Exhibit…

by Carolyn Bratnober on October 12, 2018

The year 1968 has been memorialized recently with a slough of exhibits, events, new books, and other testimonials marking the 50th anniversaries of that year’s revolutionary upheavals, movements, and protests — Union Theological Seminary of course has a long history of resistance activism, and librarians at the Burke thought that Union should have its own display of archival materials from that historic year.

Recent memoirs and history monographs on the year 1968. Photograph by Carolyn Bratnober, The Burke Library at Union Theological Seminary (2018)

Little did I know, at the start of creating this exhibit, that Union underwent its own revolutionary changes that year, and indeed Union played a pivotal role in Columbia’s infamous 1968 student protests. My research for the 1968 exhibit unearthed some of this history, which I am excited to share via the Burke Blog as part of this series.

I knew about Columbia’s student protests from reading James Kunen’s memoir The Strawberry Statement many years ago. In April of 1968, students at Columbia occupied university buildings in protest of Columbia’s involvement in recruitment and weapons research for the War in Vietnam, and in the gentrification of Harlem in general. Columbia’s administration sought to quell the protests, which lasted several days and drew significant media attention, by calling law enforcement — whereupon, predictably, the police used brutal tactics against the students, throughout several days of violence. When I consulted the archives of Union Theological Seminary’s president’s office files, community photographs, and student publications from that time period, to see what I could find for our 1968 exhibit, I was heartened to see news coverage showing Union students involved in resistance during the Columbia protests, and even doing nonviolent interventions with the police. What surprised me was the fact that Union students and administrators came together on this issue, agreeing to cease all UTS classes for the remainder of the school year; there is a letter from President John C. Bennett included in the exhibit, officially halting classes and forming a series of alternative revolutionary teach-ins called the Free University in which students could assemble and strategize to build revolutionary momentum around the protests. I and my co-curators thought these events should definitely be the focal point of our exhibit on Union in ‘68. We conducted a great deal of research to get a closer look at these resistance efforts, which in fact catalyzed a series of liberatory changes at Union (which will be described in greater detail in subsequent blog posts by my collaborators) and we decided to call this exhibit “Spirit of ‘68: Revolution and Resistance at Union Theological Seminary.”

"Union Students Strike for Columbia" banner, UTS 2 Records, the Burke Library at Union Theological Seminary in the City of New York

“Union Students Strike for Columbia,” photograph (1968) UTS 2 Archive Records, the Burke Library at Union Theological Seminary in the City of New York

The whole exhibit was a team effort. Staff from the UTS Development Office, Emily Odom and Kevin Bentley, who possess extensive knowledge of Union alumni, helped with curation. It was their idea to host an event during the 50th Reunion of the UTS Class of 1968 in early October, when many alumni would be coming to town, which was truly a stroke of genius. We organized a nice reception to mark the opening of the exhibit on October 4th, and extended invitations throughout the Union community. Background research was a major part of putting the exhibit together, and the files from this time period in the UTS archives are extensive; thankfully, a Union student, Jake Hearen, offered to pitch in on the reading and research, and he became our indispensable Research Assistant for the project.

“Spirit of ’68” exhibit display on level L1 of the Burke Library. Photo by Carolyn Bratnober, The Burke Library at Union Theological Seminary (2018).

Prior to starting the research for this exhibit, I had thought putting the physical display together was going to be the most challenging part; however, as it happened, members of the Conservation & Preservation Department for the Columbia University Libraries were happy to help construct photograph frames, book cradles, and display mounts for each of the items we selected. (After all, these materials are both unique and extremely fragile, and they deserve utmost care in their handling and display.) The entire team worked hard to create this exhibit, it was a massive undertaking and could definitely not have been done by one person alone.

For the opening reception, we also had the idea to involve the guests in collecting memories and metadata about the items on display– we put up a projector screen and projected a slideshow of images of documents and photographs from the time period, and invited guests to note in a nearby notebook if they recognized individuals by name, and dates and place info for events featured in the slideshow. We also included a table of books about 1968 for guests to browse (some of which are pictured here). It turned out to be quite an event, attended by alumni, faculty, librarians, and students, with sparkling conversation over desserts and champagne, and everyone seemed to enjoy the evening very much. Eventually I hope that research around these events will lead to broader understanding of this time period– I hope to include some of this crowd-sourced metadata in the archival Finding Aid, and to have many of the exhibit’s materials digitized for an online exhibit that will offer researchers the chance to see these items remotely in the years to come, and to continue exploring this revolutionary era in our community’s history.

Students and alumni at the “Spirit of ’68” Exhibit Opening Reception (October 4, 2018). Photo by @UnionSeminary on Instagram (2018).

Surprise from Japan: Encountering Toyohiko Kagawa

by Carolyn Bratnober on April 13, 2018

Several months ago, the Burke Library received an unexpected visitor, a researcher from Japan. She said she was from the Kagawa Memorial Center in Kobe, and she wanted to see some archival items in the collected papers of Toyohiko Kagawa. Although her visit was unscheduled, I helped her set up a reader account and request the materials via our online Special Collections forms, and luckily we were able to fit her in for an appointment that day. As it happens, Kagawa has stuck with me since that day — I have become fascinated by his life and work, and have worked with other researchers who make use of his papers in the library who study him too. I even read a biographical graphic novel about him, two pages of which are shown below (more on this further on…)

Scenes from a graphic novel about the life of Toyohiko Kagawa, depicting his life as a student, coming to New York from Japan as a young man circa the early-1900s.

(Click for full size image.) Fujio Gō and Ōsaki Teizō, translation by Timothy Boyle. “Beyond the Death Line: The Society of Love and Cooperation Envisioned by Toyohiko Kagawa.” Kagawa Memorial Center, Kobe, Japan (2015).

I had never heard of Toyohiko Kagawa before. (I am still fairly new to the Burke; actually, I was a student at Union Theological Seminary after earning my MLS, and I know the Burke’s circulating collection and research databases very well, but I still have a lot to learn about its Archives and Special Collections holdings.) It turns out that Kagawa’s papers are held in the Missionary Research Library, held at the Burke. He visited the United States many times, and his papers eventually came to be collected at the Kagawa National Center, headquartered nearby in Brooklyn — UTS professor Harry Emerson Fosdick was on the sponsoring committee. Toyohiko Kagawa was a pretty impressive person, and an inspiring subject for seminarians to study.

Newspaper clipping from the Akron Beacon Journal, 1954, announcing that Toyohiko Kagawa would preach there.

(Click for full size image.) Author unknown. “Toyohiko Kagawa, Noted Japanese, To Preach Here.” Akron Beacon Journal, Saturday, Sept. 11, 1954. (From the Missionary Research Library Section 7, Toyohiko Kagawa Papers, Series 1, Box 9.) From the collections of the Burke Library at Union Theological Seminary

Toyohiko (given name) Kagawa (family name), born in 1888, was a theologian, activist, labor reformer, and pastoral caregiver, who worked in service of improving the lives of farmers and workers in Japan and internationally throughout his life. (He struggled with health complications and died in 1960, having been nominated once for the Nobel Peace Prize in 1955.) What strikes me most about his life and work is the incredible range of activities his leadership touched in Japan — from building medical hospitals in the “slums” of Kobe to founding cooperative farms to organizing labor unions, he accomplished a great deal towards empowering farmers and laborers. He spent a brief time in prison after being arrested following a labor demonstration. As well as being a gifted writer and theologian, he was a shrewd economic thinker and researcher — for example, he studied horticulture while forming his cooperative farms, and from reading about farming practices in Greece he got the idea of planting chestnut trees in the grazing areas of pigs in mountain farms, so that the roots would prevent rock slides while the trees provided food for the animals. Not to mention his prolific scholarly and literary life. He is said to have missed a lot of class while he was a student because he spent so much of his time in the library. (You can see why I find his personality so endearing.) He became a prolific writer, and his constructive activities were funded in large part thanks to sales from his books and speaking engagements. Having studied at Kobe Theological School, he eventually made several trips to the United States, including to earn an MA and MDiv at Princeton. Later in his life he made several speaking and churchgoing tours of the U.S., including in 1954, which are well documented by correspondence, newspaper clippings, and other materials in the Toyohiko Kagawa Papers.

A section of a speech given by Toyohiko Kagawa in 1954, including the phrase: "I would help the laborers to help themselves, acting as good Samaritans through their own organizations..."

(Click for full size image.) Toyohiko Kagawa. Remarks at the World Council of Churches meeting, Aug 17, 1954. (From the Missionary Research Library Section 7, Toyohiko Kagawa Papers, Series 1, Box 6.) From the collections of the Burke Library at Union Theological Seminary

I learned a lot about Kagawa by studying the materials we have here in the Burke Library, and from reading this biographical graphic novel that our surprise visitor gave me after her visit. It is called Beyond the Death Line: The Society of Love and Cooperation Envisioned by Toyohiko Kagawa. The Kagawa Memorial Center produces and distributes these books, drawn by Fujio Gō and written by Ōsaki Teizō, and I cannot find another copy in any library catalogs in the United States. She gave it to me personally, but perhaps I will donate it to the Burke Library’s collections so others can continue to study Kagawa like I did.

A Chance Encounter with Hans Holbein the Younger — published by Rebecca Potts, Archives Assistant (c/o Carolyn Bratnober)

by Carolyn Bratnober on March 16, 2018

These images are from a printed collection of woodcarvings designed by the famous Hans Holbein the Younger and carved by Hans Lutzelburger. By chance, I encountered a copy of Dance of Death in the Special Collections of the Burke Library — where I am currently working on Archives-processing projects as a student at Union Theological Seminary — and this unique volume opened my eyes to the world of Holbein’s woodcarvings.

"The Husbandman," woodcut engraving by Hans Holbein the Younger

“The Husbandman,” from Dibdin, Thomas Frognall, 1776-1847, Francis Douce, and Hans Holbein. Holbein’s Dance of Death Exhibited In Elegant Engravings On Wood: With a Dissertation On the Several Representations of That Subject. London: H.G. Bohn, 1858.

"The Child," and engraving by Hans Holbein the Younger

“The Child,” from Dibdin, Thomas Frognall, 1776-1847, Francis Douce, and Hans Holbein. Holbein’s Dance of Death Exhibited In Elegant Engravings On Wood: With a Dissertation On the Several Representations of That Subject. London: H.G. Bohn, 1858.

"The Abbess," an engraving by Hans Holbein the Younger

“The Abbess,” from Dibdin, Thomas Frognall, 1776-1847, Francis Douce, and Hans Holbein. Holbein’s Dance of Death Exhibited In Elegant Engravings On Wood: With a Dissertation On the Several Representations of That Subject. London: H.G. Bohn, 1858.

Holbien was a 16th century German artist and printmaker who, over the course of his life, did work for Erasmus, Thomas More, Anne Boleyn, Henry VIII, and Thomas Cromwell. After working for More—who resigned over Henry’s desire to divorce his first wife, Catherine of Aragon—Holbein began to work directly for Anne Boleyn, More’s political and theological rival. Holbein was able to weather Anne’s famous downfall and in 1536, the year of her execution, he was officially employed as the King’s Painter. He went on to paint Henry, his third wife Jane Seymour, their child Edward, and many different courtiers. Holbein was also working for Cromwell during this time, creating images for Cromwell’s reformist, anti-clerical agenda. Following Jane’s death, Holbein returned to Germany under commission to paint Anne of Cleaves, the woman Cromwell was promoting as Henry’s next wife. As history has it, Holbein’s picture was highly flattering and Henry, distraught that his wife’s true face did not match Holbein’s picture, divorced Anne and beheaded Cromwell. Is it surprising then that a man who had witnessed and survived some of the most famous intrigues and downfalls in western history, would take as his subject, the fleeting nature of life and the constant, smiling certainty of death?

The images in this book depict the Dance of Death, or Dance Macabre, as drawn by Holbein. Dance of Death imagery was popularized long before Holbein, appearing in churches, monasteries, and illuminated manuscripts in the European Middle Ages. Ecclesiastically, Dance of Death imagery—people from all stations and ages confronted and called away by the personification of death as a skeleton—functioned as an allegory urging Christians to repent in the face of certain and, in those days, likely immanent death. Yet, as the essays in this 1858 book by Francis Douce demonstrate, the use of skeletons and stories of dancing death have much longer histories and more complex meanings. Douce tells how, according to Herodotus (a 5th century BCE historian), at Egyptian banquets, a dead body was brought out and presented to all the guests while the hosts proclaimed “Behold this image of what yourselves will be; eat and drink therefore, and be happy” (Douce, 2). Later Romans apparently adopted this tradition at their feasts (Ibid., 3). Thus the face of death can be used to call sinners to the church or diners to revelry. This ambiguity is somewhat captured in the once popular stories Douce recounts in which, though the characters and locations alter in every retelling, some group of people are loudly singing and dancing in direct defiance and mockery of priests, who are trying to conduct a religious service. The priest then asks God to force these dancers to continue their dance without stop for a year. God grants this request and the dancers gradually die, starved and exhausted, dancing themselves to death.

Holbein’s woodcarvings seem, to me, located within the space between allegory and ambiguity. Some of the images appear to clearly chastise immoral or corrupt behavior, such as the Judge, who is called by death as he prepares to take a bribe from a from a rich man, or the Advocate, which is similar. Yet others, such as the Husbandman, the Child, and the Abbess, illustrate that death comes for us all, regardless of virtue, age, or hard work. What then is the point of placing an image death before the unjust, as if in punishment, if later images demonstrate the unsettling and incontrovertible fact that death has little to do with justice? Sadly, these woodcarvings, exquisitely crafted and famous though they may be, do no more to answer that question than the mountains of philosophy and theology that came before and since. Therefore, in lieu of an answer to this question, I will leave you with my favorite image from the set: the Nun, kneeling in prayer, yet still able to cast flirtatious glances over her shoulder at the lute player in her room. Though this image was perhaps meant as a warning or a satire against the Catholic Church, I see it as the perfect marriage between the ancient Egyptian and European Middle Ages imageries of death. If life is fleeting and uncertain, why choose between prayer and merriment? Get it, girl.

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