Archive for the ‘Found in Archives’ Category

1963 New Orleans Freedom March

As we continue to celebrate Black History Month, the following images (previously blogged about here) highlight the September 30, 1963 Freedom March in New Orleans.

While lunch counters and department stores had begun to desegregate in New Orleans by the summer of 1963, public administration had not yet implemented wide-spread desegregation efforts. On August 9, 1963, New Orleans Mayor Victor Schiro signed an agreement to desegregate public buildings, including City Hall; begin hiring qualified blacks for city positions; and cease appealing court desegregation orders or harassing businesses that were in the process of desegregating. However, only portions of the agreement were actually implemented, and on September 30, more than 10,000 whites and blacks marched from Shakespeare Park (now A.L. Davis Park) to City Hall to present the “Petition to the Greater New Orleans Community” demanding the realization of the August 9 agreement and other directives. The Mayor and other white politicians refused to meet with the protesters, so a week later, Reverend A.L. Davis presented the petition to City Council. Protests and demonstrations continued in New Orleans throughout the fall and winter of 1963, with City Hall’s cafeteria finally being desegregated shortly thereafter.

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Don Hubbard at left.

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At left Revius Ortique and Father Twomey.

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Left to right: unidentified, Rev. Avery Alexander, Solis Elie (foreground), Rev. A.L. Davis.

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Left to right (foreground): Father Twomey, Solis Elie , Ernest Morial.  Also featured in image – Rev. A.L. Davis and Rev. Avery Alexander.

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Left to right (foreground): Dr. Leonard Burns, Oretha Castle Haley, & Revius Ortique.

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Msgr. Charles Plauche.

These photos, taken by B. Raynal Ariatti, are from the Louis J. Twomey S.J. Papers and the B. Raynal Arriati Papers, and were previously on exhibit in Special Collections & Archives Booth-Bricker Reading Room as part of the exhibit We March in Dignity. These images and many more like them are available for research in Special Collections & Archives M-F 9-4:30.

Creole Voices

Continuing our celebration of Black History Month, the following pair of books are just a few of the many items related to the history of Louisiana’s people of color in Loyola’s Special Collections & Archives.

Creole voices; poems in French by free men of color (in French, Les Cenelles), was published in 1845 by Armand Lanusse, a free man of color living in New Orleans. The poetry collection was a landmark publication. Lanusse worked most of his career as a teacher at the L’Institution Catholique des Orphelins Indigents. An original edition of Les Cenelles is digitized and available online in the Louisiana Digital Library thanks to the Historic New Orleans Collection.

Nearly 100 years later, Lanusse’s work was highlighted by Charles Barthelemy Roussève, who was born to an accomplished black Creole family in 1902. After studies at Xavier Preparatory School and Straight College, Roussève  completed his master’s degree in history from Xavier University of New Orleans where his thesis, The Negro in Louisiana; aspects of his history and his literature, became the first book-length publication issued by Xavier University Press. The Negro in Louisiana drew attention to Lanusse’s little known Les Cenelles.

Roussève went on to work as an educator in New Orleans for 45 years as both a teacher and a principal and also published poetry, prose, and translations. Roussève’s papers are held at the Amistad Research Center.

Both of these books and many more like them are available for research in the Booth-Bricker Reading Room in Monroe Library’s Special Collections & Archives M-F 9-4:30.

Black History Month and opera

The New Orleans Opera has had the privilege of performing with some of the most talented and accomplished opera singers in the world, including a number of black opera singers. In conjunction with Black History Month, following are a few of the illustrious singers of color who have performed with the NOOA.

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Native New Orleanian Shirley Verrett (pictured here in a 1983 NOOA performance of Tosca) filled in as Carmen for the NOOA in 1980, making her the first black singer to perform the role with NOOA. She had previously been the first black singer to perform the role at the Bolshoi Theatre in Moscow.

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Bass-baritone Alfred Walker has become an international superstar since he graduated from Loyola’s master’s program in 1996. Walker won the Regional Metropolitan Opera Council Audition and made his Metropolitan Opera debut as Grégorio in Roméo et Juliette in 1998. He has performed with NOOA in Macbeth and Elektra (1994); Madama Butterfly (1995); Andrea Chénier (1996); Rigoletto (1997); and La Bohème (2014). He is pictured above in Loyola’s 1996 performance of Die Fledermaus.

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Another Loyola alum, Giovanna Joseph, has performed supporting roles in Salome and Porgy and Bess with NOOA. In 2011, Joseph founded Opera Creole, a nonprofit company dedicated to discovering and performing music written by nineteenth century New Orleans Creole men and women of color. She is pictured above (left) with her daughter Aria Mason (right) and singer Hope Briggs (middle) in NOOA’s 2010 Porgy and Bess; this performance marks the first time a mother and daughter both had singing roles in the same NOOA production (image courtesy of Givonna Joseph).

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Mezzo-soprano Débria Brown was another trailblazing New Orleans native who battled prejudice to become an international opera star. Brown graduated from Xavier University and began her professional career with the New York City Opera opposite Loyola alum and fellow New Orleanian Norman Treigle. She later achieved success singing in Germany and Vienna before becoming a professor of voice at the University of Houston Moores School of Music. Brown performed with NOOA in Un Ballo in Maschera (pictured above in 1981) and Eugene Onegin (1995).

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Opera soprano Marquita Lister performed two of her signature roles in Porgy and Bess and Salome with NOOA in 2002. Lister has also served as the national spokesperson for the Negro “Spiritual” Scholarship Foundation.

A large portion of the New Orleans Opera Association Archives are Artists’ Files. These include head shots, press kits, and correspondence, in many cases sent by artist management companies, for artists who performed with NOOA as well as many who didn’t. These files contain beautiful graphic materials for  some of the most famous opera singers of the 20th century, including many of the world’s leading black singers.

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LaVergne Monette

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Barbara Hendricks

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Simon Estes

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Barbara Conrad

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Vinson Cole

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Grace Bumbry

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Betty Allen

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Donnie Ray Albert

Many if not all of these singers faced intense racial prejudice in establishing the rights of black singers to perform with regional, national, and international opera companies. Alison Kinney’s “As the Met Abandons Blackface, a Look at the Legacy of African Americans in Opera” details struggles faced by black American opera singers as well as the use of white singers to portray black characters, as does Naomi Adele André’s Blackness in Opera (available for checkout from the Monroe Library).

The materials pictured above, and many more like them, are available for research in the New Orleans Opera Association Archives at Special Collections & Archives‘ Booth-Bricker Reading Room Monday – Friday from 9am-4:30pm.

A Night at the Opera

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On February 10th, at around 7:30 p.m., I walked into the Mahalia Jackson Theater. I gave the staff my ticket, and walked in. It seemed a little bland at first, but I got a a soda at the bar and made my way to my seat. It was in the center, in the middle of the large auditorium, so it was perfect. They called for the start at 7:55, and then, the curtains rose at around 8:10 after announcements. That’s when a man hobbled to the center of the stage, and started to break out into song about a demon barber.

The New Orleans Opera Association performed Sweeney Todd last weekend, and I had the chance to go see it. After scanning the pamphlets for months, I must admit, I was curious to see the opera for myself.

Although they missed out a chance to make it a dinner theater, it was still amazing. The voices were extremely talented, the set was wonderful, and how they managed to make blood spurt 10 feet into the air still confuses me. If anyone is not familiar with the story, I apologize. It is exactly what it sounds like. The Demon Barber of Fleet Street, Sweeney Todd, slit throats with a razor in order to fulfill his thirst for revenge. They inconspicuously managed to put a device on the victims and make blood spurt, even getting some on the orchestra, before making the chair seat drop and the body fell through the floor and into the basement, where they were ground up for meat pies. That thankfully was just props.  The show totaled up to 3 hours, with a 20 minute intermission, and it was 11 when I got out. Even though I was absolutely tired, ready to peel my makeup off and curl up in some blankets, I had such a wonderful time.

For anyone that hasn’t gone to see the New Orleans Opera, I highly recommend you go. They’re currently in their 74th year, so if there’s any year that you should go, it’s the next. They have numerous performances planned until then, so if you want to have a night of pure talent and have your mind blown, give them a visit!

We also have an exhibit on the New Orleans Opera Association in Special Collections & Archives and  pamphlets in our digital collections if you are curious to learn about their history.

-This blog was written by student worker Miranda

Collection Spotlight: Norman Treigle Papers

In memoriam of the anniversary of Norman Treigle’s death on February 16th, 1975 we are spotlighting our Norman Treigle Papers collection.

Adanelle Wilfred (Norman) Treigle was born in New Orleans on March 6, 1927, the youngest of five children born to Wilfred and Claudia (Fischer) Treigle. His introduction to music was through his mother, who played both piano and organ, and his singing career began as a boy soprano in a church choir.

Determined to pursue a musical career, Treigle entered Loyola University where he studied with Elisabeth Wood for seven years. He won the New Orleans Opera House Auditions of the Air in 1947 and made his operatic debut with the company as the Duke of Verona in Roméo et Juliette. Over the next six years he developed a repertoire of twenty-two roles with the New Orleans Opera and studied both drama and ballet to prepare for his career as a singing actor. He sang solos at religious services of all denominations, performed with the New Orleans Pops and the New Orleans Philharmonic Orchestra, and hosted a radio show on WWL. According to his daughter Phyllis, the proprietors of WWL suggested that he change his name from “Addie” to a more professional stage name, and after studying various names, Treigle finally chose “Norman,” the name previously bestowed on his son.

Although only 5’11” and 140 pounds, Treigle had a voice that belied his size and a dazzling acting ability. He was known for his dominating portrayals of Reverend Blitch in Carlisle Floyd’s Susannah, Grandpa Moss in Copland’s The Tender Land, Escamilio in Carmen and Mephistopheles in both Faust and Mephistofele as well the lead roles in Boris Gudonov, Figaro, Don Giovanni, and Gianni Schicchi. He and Beverly Sills often sang together in operas including Les Contes d’Hoffmann, Coq d’Or and Giulio Cesare that was produced to showcase Treigle in the City Opera’s premiere in new facilities at Lincoln Center in 1966.

Despite a vagabond career, he remained a New Orleanian. He and his second wife Linda lived near the lakefront with her daughter, Lisa, who Treigle adopted. His daughter Phyllis Susannah (born in 1961 and named after Phyllis Curtin, Treigle’s Susannah co-star) lived with her mother. He smoked constantly, drank Scotch, enjoyed wagering on the races at the New Orleans Fairgrounds, and was admired for his sense of humor and generosity.

On February 16, 1975, Treigle’s first wife, Loraine, found Treigle dead in his New Orleans apartment. The cause of death originally was thought to be result of a bleeding ulcer, but was later determined by the coroner to be an overdose of sleeping pills. Norman Treigle was forty-seven years old.

The Norman Treigle Papers consists of materials detailing the career and legacy of the opera singer. Press, programs, correspondence, contracts, photographs, costumes, and audio-visual materials are included in the collection. The bulk of the collection covers his years as a performer with some additional materials gathered after his death.

Treigle as Boito's Mefistofele

The collection is comprised of the following series:

Series I: Press & Programs

Series II: Correspondence

Series III: Contracts, Royalties & Financial

Series IV: Public Relations & Memorial Fund

Series V: Sheet Music –  Subseries I: Opera Scores – Subseries II: Oratorios and Cantatas – Subseries III: Art Songs & Popular Songs

Series VI: Educational Resources

Series VII: Photographs

Series VIII: Brian Morgan Research Files

Series IX: Scrapbooks & Oversized Publications

Series X: Audio-Visual Materials – Subseries I: Moving Images – Subseries II: Audio

Series XI: Costumes

You can view and research the Norman Treigle Papers Monday through Friday from 9-4:30 in the Special Collections & Archives of Monroe Library Loyola University New Orleans.

#ColorOurCollections recap

Today ends #ColorOurCollections, but you can download our coloring books anytime.

Excerpts from Mordecai Cubitt Cooke’s Rust, Smut, Mildew and Mold: An introduction to the study of microscopic fungi

Excerpts from the University Archives

Johann Gottlieb Mann’s Germany’s Wild Medicinal Plants

John Gould’s Birds of Great Britain

Mardi Gras Coloring Book

Need some inspiration? Check out our students’ fantastic coloring!

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Protests Throughout Loyola’s History

Loyola University New Orleans is no stranger to the idea of protests. Over the years, students have participated in protests on campus, in New Orleans, and even in Washington, D.C. There have even been a few protests against Loyola at times.

In 2001, in the wake of 9/11, a group of Loyola students traveled to Washington D.C. (pictured above) “to represent Louisiana in an anti-war rally.” The editorial piece comments on – but is “neither condemning nor condoning” – the irony that the protesters were speaking against both the government and the United States as a whole, yet were seeking to prove how the attacks on September 11th had inspired the citizens to embrace patriotism.

Again in 2002, Loyola Law Professor William Quigley joined a small group of protesters on St. Charles Avenue against the “looming war on Iraq” shortly after returning from a trip to Iraq with the organization Voices in the Wilderness. He then had a panel discussing his trip and is quoted saying, “Seeing these people, I saw they are just like us.” He said that many of the people he spoke with on his trip were fearful of the upcoming war with the U.S.

Also in 2002, a group of about 100 protesters congregated outside of the Loyola University Law School campus to express their disapproval of Loyola’s invitation to Kim Gandy to speak on campus. Gandy, an alum of the Law School, was president of the National Organization for Women at the time and was vocal about her pro-choice stance on abortion.

In 2011, three Loyola students made their way to Washington D.C. to participate in the March for Life (pictured above). The Loyola Maroon newspaper featured an article voicing opinions of students on both sides of the issue. Margaret Liederbach was pro-life, but had some issues with parts of the movement as a whole, stating, “By restricting the movement to a religious – and primarily Christian context, we lose sight of the fundamental humanitarian issue at hand.” Ashley Nesbitt and Tori Buckley who take the pro-choice stance said, “The reasons a woman might choose abortion are endless; regardless, it is unfair for a single individual to decide whether abortion is the right decision for other women.”

Most recently, on January 21, 2017, people from all over the nation came together in Washington D.C. to protest President Donald Trump on the day after his inauguration. Several students from Loyola made the trip to participate in the Women’s March on Washington. The Loyola Maroon also published an opinion piece written by one of the students in attendance at the march, and Special Collections & Archives is collecting march-related materials.

These are just some of the times Loyola has been involved in protests, whether locally or nationally, throughout its history.

Written by student worker Samantha.

#ColorOurCollections Week with Identifying Microscopic Fungi

In celebration of #ColorOurCollections Week, we have been looking for some scans from the past that we thought might be fun to decolorize.

One such post from 2014 explores both a book and its author,  Mordecai Cubitt Cooke’s Rust, Smut, Mildew and Mold: an introduction to the study of microscopic fungi.

We were initially impressed by the illustrations… but after being made curious and conducting a little research… we found a man with a truly fascinating life!

Mordecai was a busy guy!

M.C. Cooke did not have much in the way of a formal education but wrote hundreds of articles and books on botany and mycology. Collected roughly 46,000 specimens, contributed over 20 years of service to museum collections while editing journals and founding societies.

Here are the original color plates and the decolorized ones for #ColorOurCollections week:

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Mardi Gras Coloring Pages

We promised more Mardi Gras-related #ColorOurCollections, and here they are! The following coloring pages are from our New Orleans Carnival Collection (previously blogged about here and here).

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Comus 1878 Invitation

 

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Comus 1910 Invitation, folded

 

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Comus 1910 Invitation, unfolded

 

 

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1968 Mardi Gras Calendar cover

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1891 Momus Invitation

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Momus 1878 Invitation

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Proteus 1899 Invitation, Side A

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Proteus 1899 Invitation, Side B

Our students have been coloring away! Here’s some of their handiwork:

Read more about #ColourOurCollections and find our previous coloring books here.

Recent Undergrad Theses from the Digital Archives

Whether it’s for the Honors program or a senior capstone project, many Loyola students undertake the feat of writing a thesis towards the end of their undergraduate careers. They serve as an interesting look into the research and interests of Loyola’s diverse student body. These theses eventually make their way into Loyola’s Special Collections and Archives, where they’re added to the Electronic Theses Digital Archive.

Devon Vance, a 2012 graduate in music performance, wrote a thesis entitled Occupational injuries of the classical horn player for her honors thesis. She writes in her abstract:

  • “Injuries in musicians, though common, are also commonly kept quiet in the musical community. Fear of losing a gig or being seen as unreliable or weak can end careers… This guide presents information on the causes of many musicianship injuries, how they affect the player’s ability to perform, and how they can be treated and largely prevented. Information is the key to getting help for those musicians suffering from occupational injuries, spreading awareness to the rest of the musical community about these hazards of playing, and to gain acceptance and understanding for these musicians because injuries are common and are not always a result of the player’s negligence. Educating teachers and instructors is one way to spread awareness and to work to prevent these injuries from ever happening. After all, as music educators, we should educate the student on all aspects of playing, including correct posture and comfort to give the student the best chance at success because music is more than just what comes out of the bell of the horn, music is also what goes into the mouthpiece of the horn.”

Rebecca Urquhart, a 2016 graduate in environmental science, was mentored by professor Craig Hood on her honors thesis entitled Seasonal Bat Ecology at Jean Lafitte Park. In her thesis, which discusses the species and activities of bats in Jean Lafitte Park, she writes:

  • “There is currently not enough data confirm lunar philia or phobia of bat activity at the park… Sites that both had more activity occur on full moons did not always share this high activity on the same month. In April, for example, there was more activity occurring during the full moon at the Education Center and the exact opposite at the Coquille Bridge site. This phenomenon reversed in May, with more activity occurring during a new moon at the Education Center and more activity occurring during a Full moon at the Coquille Bridge site. The inconsistencies in activity could be due to obstruction of the moon by cloud coverage and other weather events. The activity is also not associated with one particular species, there are general trends of high or low activity across all species at these sites during the lunar phase observations. Several years of complete monthly activity will be needed to confirm or deny the hypothesis of bat activity at the park being affected by the lunar cycle.”

For her 2016 honors thesis, psychology student Madeline Janney wrote a book for young readers entitled Tonight We’re Having Red Beans and Rice. Pages from the book are pictured below:

Sociology and Women’s Studies graduate Lauren Poiroux wrote an honors thesis entitled What’s Your Type?: Romantic Partner Selection In Loyola University Men. She describes her research process as follows:

  • “In order to find my sample, I used a method of gathering participants called convenience ‘Snowball’ sampling. Essentially, I asked someone to participate in my study, and after the interview, I ask the participant to give me names of others to contact to be interviewed. The hope with procuring my sample in this way is that it places some responsibility on the participant to find willing participants, which helps to ensure randomness, which ensures a more unbiased study. Through this method, I was able to interview 10 Loyola men, all who interviewed for at least thirty minutes, though the majority had interviews over an hour. All of the men were current Loyola students, with an age range between 20 and 22. All of the men I interviewed were white, which could perhaps be a result of the sampling method. This certainly places a skew on the data, making it not as generalizable to the entire population. Future studies should look at men of other racial backgrounds…”

The Electronic Theses Collection can be found here in its entirety, and other digitized collections from Special Collections and Archives can be found here.

Posted by student worker Maureen.