Archive Finds – The Worlds of Ntozake Shange and Digital Storytelling

Annabella’s Archival Find

by Correa-Maynard on November 28, 2019 1 Comment

I remember coming upon this photo unintentionally during our first-ever class visit to the archive. This was the first of about 20 photos that I found in an unnamed photo album. All of them were black and white, but there was something about this photo that caught my eye. It took me a while to digest the content – at first, all I saw was a woman resting on her back, with her hand on her head, almost in a sign of distress. I later was able to make out the darker figure of the doctor cradling the newborn baby in her arms. Once I understood the photo, I immediately felt a sense of shame as an intruder witnessing an intimate moment. Even though all of the photos were shot in black in white, they ranged in content from babies to people standing in front of parks and signs, to pregnant women and more.

The first photo in the black photo album titled “The Sweet Breath of Life”. These photos were later published into a book that can now be purchased wherever books are sold.

Upon doing some research on google, I was able to find out that this photo album is actually a collection of photos that were later included in a published photobook titled, “The Sweet Breath of Life: A Poetic Narrative of the African American Family”. This collection of work was eventually published in 2010, including edits from Frank Stewart, photographs from Kaminige Workshop, and contributions from Ntozake Shange herself. I found it really interesting that this photo album was placed in the same box as two additional family photo albums, that included photographs from Ntozake Shange’s life. While this form of archiving might have been unintentional, I find it telling that this published album was included with two other personal photo albums. In a way, it almost signifies that Shange’s life was crucial to understanding the poetic narrative of the African-American family (I purposefully included all three photo albums together in the second photo so you could see how they overlap with each other). It also makes sense that the first photo encapsulates the idea of the sweet breath of life, being that a newborn baby is taking that sweet breath in. I noticed that all of the photos and albums were arranged in a set of “series”. In both of my visits to the archives, I noticed that Shange has a lot of photo albums in her collection, which gives me a new appreciation for all of the photo albums that I have in my home that remain untouched.

These are all three of the photoalbums included in box 50 (Identifier BC 20.29). Notice the difference in terms of the content of all three.

Although this photo is outside the scope of my scalar project, I think that the digital archives have proved to be a fantastic resource for understanding her collection. We are allowed to make photocopies and scans for research purposes only. Thanks to technology, I know that I personally accessed this collection of photo albums on October 10th at 1:34 pm. However, additional metadata information, such as when this photo album came together, or when Ntozake Shange approved of the final manuscript of the photo album is information unbeknownst to me.

Works Cited:

Ntozake Shange Papers, 1966-2016; Box and Folder; Barnard Archives and Special Collections, Barnard Library, Barnard College. http://collections.barnard.edu/public/repositories/2/resources/377 Accessed November 28, 2019.

Ntozake The Photographer | Archive Find #2 | Makeen

by Zachery on November 24, 2019 2 Comments

Ntozake Shange… the playwright, the poet, the author… AND the photographer!

In my last archive find post, I reveled about how captivated I was by Ntozake’s collection of photo albums more than anything else I explored in her collection. After many revisits, these photos continue to captivate me–-not solely because they are beautiful but also it truly feels like a privilege to see through Ntozake’s eyes.

This course is titled the Worlds of Ntozake Shange and Digital storytelling. We explore the worlds she creates through writing and performance, but what does it mean to consider the world that she lived in? What about this lived world of Ntozake Shange led her to create these, sometimes fictitious and other times not, worlds that we’ve had the joy of exploring through writing. To me, Ntozake’s photography provides a glimpse into Ntozake’s real world.

Photo at a Protest taken by Ntozake

Photo of an unidentified saxophonist, taken by Ntozake

Many of the photos present in the album feature a smiling Ntozake dolled up alongside other artists, at seemingly lavish galas/events. Some of them feature her alongside her family. The ones that are my favorite are ones that seem like snapshots of specific environments in which Ntozake found herself. Like the two above, these moments are not posed, it is not clear who they feature or where they were taken, but it feels as though we are able to see what Ntozake saw even if just a literal snapshot moment.

Photo of two unidentified people, taken by Ntozake

Photo of an unidentified woman taken by Ntozake

Some photos, like the last, are of people who are presumably friends of Ntozake–– some aware of being photographed or others just existing (like in the first photo here). Many like the baby photo featured here and those in my last archive find, are of Savannah throughout the years. Others are ones of Ntozake’s living room, or dining table–– of art on her walls, or plants in the corner. All of which, to different degrees, expose us to the world that for whatever reason encouraged Ntozake to birth worlds of her own.

photographs – archive find

by Elizabeth on November 9, 2019 1 Comment

Both times we’ve gone to the archives, I’ve been grabbed by some of the most mundane items. I initially expected to be excited by seeing things like her medals, awards, and accommodations. While these items are fascinating and only add to my respect for Shange as an artist and activist, I have been more intrigued with items related to her personal life. I’ve enjoyed looking at the items that are more related to her personal life.

On Thursday, I spent a lot of time looking through her photo albums and letters. I was really intrigued with the photos of her daughter, Savannah. Some of them are clearly taken at big events like birthday celebrations, but some of them seem to be in very average, regular, every day moments.

my 5th birthday

I started to think about the function of pictures. They are often aesthetic and artistic, but they are also largely for memory and preservation. It makes me wonder what prompted someone to take these pictures and what makes a “Kodak moment.”

I’m not really sure I have a definite answer, but it has made me think back to the themes of ancestry and honoring what came before that is so present in Shange’s work. Considering the gaping holes in history resulting from colonization and imperialism, it is the mere act of taking photos of the every day can be a method of resistance. Taking pictures preserves these histories, and even says that our lives are worth remembering.

Works Cited:

Next class-Archive visit/ blog audit_ UPDATE

by Kim Hall on October 31, 2019 0 Comments

Hello all,

On Thursday, the class is meeting with Martha and Vani in the archives. To prepare, I would like you to do the following:

If you haven’t read (or didn’t absorb) the Cassius Adair/Lisa Nakamura essay, “The Digital Afterlives of This Bridge Called My Back: Woman of Color Feminism, Digital Labor, and Networked Pedagogy,” please read that carefully.

Read the Shange Collection Finding Aid (click on the link in the upper right) and request one item from the archives by noon on WEDNESDAY. (If you are eager, you can request up to 3).

ANNOUNCEMENTS:

–The “before 9am” for this week’s blogpost is lifted, you can do an open post on any reading from the semester– or do your archive find.

–Speaking of archives, Professor Kimberly Springer’s Black Feminism Archives: An archive of 1970s black feminist organizing, is open for perusal and has lots of great materials for an archive find!

–I won’t have office hours this week, but PLEASE sign up for a quick appointment with me next week to discuss your final project. (The yellow slots on this spreadsheet are for my other class.)

— RE THE BLOG AUDIT:

Savannah’s Geography – Ntozake Archive Finds

by Zachery on October 30, 2019 0 Comments

Our class spent in the archives was without a doubt the most engaged I’ve ever been in a college class. The excitement and honor I felt to look through Ntozake’s personal collection of books, awards, jewelry, manuscripts, etc. was unmatched. Through it all, however, what stood out most to me were the photo albums.

The first photo album that I went through featured a range of photos of Ntozake with what appeared to be friends/family. There is something so personal about photo albums, the ways in which we select and organize which snapshots to hold dear, that made these albums feel personal even to me despite having no connection to the content.

The second photo album, after two visits to the archives, remains my favorite find. This album, unlike the others, was focused specifically on Ntozake’s daughter Savanah. The album was comprised largely of photos that appear to be taken by Ntozake which was truly a beautiful sight–– to see a young Savannah through Ntozake’s eyes . Ones that displayed Ntozake were alongside Savannah…reading a story book or posing for a casual portrait.

What stood out to me more than the photos, however, was a poem that Ntozake wrote to Savannah.

Savannah

brown sugar cookie

how I miss you….

The words of her letter lay on top of a river of stamped hearts. As always, Ntozake even in her expressions of love bends traditional form and language. “Guard mi corazon…” Inserting Spanish and coupling her writing with imagery, she seems encourage Savannah to navigate the world freely as she does solely in the form of the writing.

Funnily, my immediate response was to send the letter to my mother. On the phone later that same day, we raved about it together. Our phone call ended with my mom saying “We didn’t have classes like these when I was in college, I feel so blessed to experience them through you now.”

The Meaning Behind my Archive Find: Blogpost #7

by Charista on October 27, 2019 0 Comments

Cup coasters I found in the Shange Archives. I reflected on each word on every coaster and realized their relationship to Shange’s work.

I found these cup coasters in the Ntozake Shange Archives. The box I found them in said that they were found in Shange’s home when her belongings were collected. As soon as I saw them, many thoughts ran through my mind. The words on the coasters read: consciousness, nonviolence, homeland, realization, environment, women, the journey, values, fulfillment, obstacles, hope, and freedom.

Each word is a theme that is shown in a plethora of her works and pieces. Perhaps she used these coasters as her inspiration when she wrote? The coasters were, in fact, found laying around her house. Maybe she used a different coaster for each piece she wrote and tried to work that word/theme into it?

These coasters make me think about each word and how every word is a significant and powerful theme that is ever-present in Shange’s pieces. The more obvious themes, to me, are the words that are almost self-explanatory: environment, women, the journey, values, fulfillment, obstacles, hope, and freedom.

For example, let’s look at “consciousness, “realization,” and “homeland.” Consciousness and realization can be interpreted as “awareness” — awareness/realization of one’s self, awareness/realization of one’s body, awareness/realization of one’s surroundings, and awareness/realization of one’s capabilities– something that Shange often explores in pieces like Nappy Edges and for colored girls who have considered suicide/when the rainbow is enuf.

“Homeland” reminds me of Shange’s appreciation for black culture and tradition. A powerful underlying theme of Sassafrass, Cypress, and Indigo, and in many of her pieces in Lost in Language in Sound, is the significance of cultural tradition in the lives of contemporary black people. For example, my previous blogpost that talked about how Shange makes it evident that the portrayal and depiction of cultural heritage strongly affects the identity and character development of Sassafras, Cypress, and Indigo, partly because of their mother’s influence. As I continue to reflect on the words on these coasters, I will think of deeper meanings and ways these themes connect to Shange’s life, as well as my life, going forward in the semester.

Blogpost Assignment: Archive Find of the Week

by Kim Hall on October 17, 2019 0 Comments

Student perusing the finding aid to the Ntozake Shange Collection

Dear class, now that you’ve had some collective exposure to The Ntozake Shange Collection and the archives, you should be planning to go on your own to explore and consider how you might help the archive speak to others through your digital story. This means, as Brianna pointed out on Monday, journeying between the archives, the class readings and Scalar.

Any time before Thanksgiving break, you will write a post about an item found during your archival research. It does not have to be something you will use in your project. Pretend you are writing a caption label (20-150 words) and then include some discussion of the following: Read More

Thank you, Shange

by Dayna Beatty on December 8, 2018 1 Comment

I wanted to write a final, reflective blog post surround what I’ve found in the archives, how I’ve come to understand the importance of the archives we have access to and Shange’s contributions to Barnard’s library, and the importance of fair use and copy right laws when it comes to engaging with the materials we use.

I’ve realize through my visits to the archives the incredible courage and confidence it must have taken Shange to leave not just unpublished work or drafts of documents to us, but personal items, in particular personal journals, for public use at an institution. Her decision to do so not only demonstrates her own strength, but also her confidence in the Barnard College community. To trust such a large group of women with this invaluable and private information showcases how much Shange values our college and the education we receive through it. I can’t imagine sharing my personal information in the way that Shange has, and I wish I had the chance to tell her how truly appreciative I am that she has given Barnard this incredible gift. This donation seems to directly embody Shange’s spirit, her generosity, and the courage I hope to one day exude.

During our in-class activity on Thursday, Professor Hall asked us to reflect on what we wish people knew about Shange and what we learned through this course. My answer to both of these question lies within the archives. I wish more people knew about the archives, how accessible they are, and what they have to offer, because through this course, I learned all of this. Prior to taking this course, I had no idea that Barnard was in possession of the archives, that there was so much material in the archives, or that every student has open access to them. I wish more people were aware of them, because I’ve learned so much about Shange, and by extension myself, through self-reflection inspired by Shange, and by visiting and embracing the materials in the archives. I’ve shared this with my close friends, but in the coming semester I am going to make a much larger effort to encourage my peers and members of the various on-campus organizations I’m a part of to visit and use the archives—that’s what they are there for! We cannot truly appreciate the gift that Shange has given us if we aren’t taking advantage of it regularly.

Finally, I wanted to touch on the importance of fair use and copy right, and the need to understand them both. Personally, my concept of these ideas was very surface-level prior to the workshops we had with professionals who deal with these issues every day. The people that produce the works that we are using for this course, our scalar projects and for our educational betterment at large, worked hard to produce the materials they did. It is important to acknowledge and thank the original creators and those that inspire us. I’m grateful that this course gave me a better understanding of these concepts, because these are lessons that I will take with me beyond this class whenever I engage with and use materials that I have not personally created.

For the tech component, I wanted to include a list of Tweets that came out after Shange’s death, of people remembering her spirit and her work. However, there were so many, I would like to invite anyone reading this to check out this link from a website that celebrates and informs women of color, in addition to visiting twitter and filtering for tweets that use the #shange at the end of October.

Archives & Remembering Shange

by Makaria Yami on November 12, 2018 1 Comment

I wanted to take some time to honor Ntozake Shange and her memory by discussing my experience with the Shange archives. Prior to exploring her archives, I didn’t have a concrete understanding of what the purpose and history of archiving was. Not only did the Shange archive give me that understanding, but it also brought me closer to Shange and her work.

My favorite thing in the archive is her journals. As someone who frequently journals, I understand how personal and vulnerable it is to share what you journaled about with another person. That’s why I was surprised to learn that Barnard had some of her journals.

I am thankful to Shange for allowing us into her personal thoughts and feelings. In her journal, on March 1, 2000, Shange writes, “Even though I took my medicine and paid my bills, I still feel really shaky & anxious. Talked to mama . . .”

This page stood out to me because I sometimes deal with the same emotions that Shange dealt with. It’s even more frustrating when I do everything that I am supposed to, everything from cleaning my room to fulfilling my extracurricular and academic activities, and still feel anxious. It’s hard to talk about these feelings, but because Shange so openly shared her feelings with us, it makes me feel more comfortable opening up.

In the same entry, Shange writes, “I think I did the syllabus wrong, not putting enough material for each session. But I’ll see tomorrow. I didn’t work on the novel today, either.”

It’s clear to see that she is dealing with doubt, anxiety, and an inability to work. When I looked at when her work was published, nothing was published the year she wrote this journal entry. The work she published after this journal entry was in 2003, three years after the entry. The works are titled Ellington Was Not a Street and Daddy Says.

Another thing that I found interesting was that she changed from a black pen to a blue pen in the middle of her entry. I thought this was interesting because she changed the pen in the middle of a sentence and it doesn’t look like the black pen was running out of ink when she switched it. The more entries I read, the more I want to understand where she wrote what she wrote, what time of day she wrote it, and every other detail.

The more I explore Shange’s archives, the more I want to read her work. I feel closer to Shange and her work more than any other author. Even though I am deeply saddened that she passed away, it makes me happy to know her memory will live on through the archives.