When Grand Valley College began, the administration focused on building a successful liberal arts program before implementing any official sports programs. GVSC did offer intramural club sports for students who did wish to join a team. In addition, all students were required to take a physical education course. These physical education classes were mainly just basketball games played inside an old barn on campus property. Nearby fields were used for other physical education activities, while also being used for intramural teams as well, some being football, basketball, softball, track and golf, plus more.
Intercollegiate sports came on the scene for Grand Valley in 1964, with the organization of the first cross country team. It wasn’t until 1968, however, that women’s sports became a part of the Grand Valley legacy. Joan Boand was a faculty member in the physical education department. She first coached the softball team in 1968, and within the next few years she was also coaching teams in basketball and volleyball. She was given the opportunity to award Donna Sass Eaton the first female athletic scholarship in the State of Michigan for softball in 1974.
Grand Valley joined the Great Lakes Intercollegiate Athletic Conference (GLIAC) in 1972., Two years later, the women’s tennis team won the 1974 GLIAC tournament. The following year, both men and women’s basketball won their respective championships. Throughout the entirety of the 1970s Grand Valley’s women’s softball remained a powerhouse, winning multiple games and qualifying for a variety of GLIAC tournaments. As for the late 1970s, the women’s rowing team dominated the state, winning three Michigan Rowing Championships consecutively.
The 1980s saw a rise of swimming and basketball for women’s athletics. In 1984, swimming and diving were introduced for men and women for the first time at Grand Valley. Kristen Campbell lead the school being the first person to qualify for the national championship in swim, for both men and women. In 1988, the women’s basketball team qualified and played in the NCAA division II tournament for the first time, although they lost the game.
The 1990s were a time of change for Grand Valley sports. Women’s coach Joan Boand retired, the Meadows Golf course opened, and women’s soccer was added to the available team sports. Joan retired with over 500 wins under her belt coaching the volleyball team to six conference titles. Her legacy was followed by Deanne Scanlon, who continued down the path of success, leading the Lakers volleyball team to a 24-11 record in 1995. To finish up the 1990s, there was an increase in the number of scholarships for women’s golf, along with the first full time coach, Lori Stinson in girl’s golf. In 1999 a new track and cross-country coach was hired, Jerry Baltes. That same year Baltes was hired, the women’s cross-country team placed fifth nationally at the NCAA National Championship.
The 2000s brought only victory and positive change within the women’s sports world at Grand Valley. The volleyball team continued to dominant, advancing to their first NCAA final four tournament in 2001. Although they ended up losing in the semi-final against South Dakota State, the team had made it farther than ever before. Four years later in 2005 the volleyball team qualified again for the national championship, this time held at Kearney, Nebraska, where Grand Valley won its first national title in a women’s sport. In 2006, women’s basketball took home a national championship win as well.
With only about fifty years of women’s sports history, Grand Valley has seen many successful women’s teams. More recently, women’s volleyball won their 17th Crossover tournament in 2015; women’s tennis, cross-country and soccer all won their respective GLIAC tournaments in 2017; and the women’s softball, golf, swim and dive, cross-country and soccer teams all won in GLIAC tournaments in 2019. Not only the teams are celebrating victories, either. Jerry Baltes is also set to receive a 20-year award in 2019 for his time spent working with the athletics program.
Although often considered a child’s toy nowadays, paper dolls were originally used to advertise current fashions, illustrate moralistic stories, and, of course, reflect society’s view of women.
First manufactured in America in 1812, they were printed in women’s magazines as well as newspapers. Godey’sLady’s Book, a popular women’s magazine famous for its hand-tinted fashion plate, printed their first paper dolls in November 1859. By the early 1900s, magazines such as Good Housekeeping and Ladies’ Home Journal regularly printed paper dolls.
Paper dolls reached their height of popularity during the 1930s-1950s. Since paper was an affordable medium even during the Great Depression, and was not affected by rationing during World War II, paper dolls became a popular plaything.
Paper dolls produced during World War II reflected the changing roles of women. While the clothing choices included the requisite military uniforms, they often appeared alongside “date night” appropriate and traditional clothing choices. Despite their expanding roles in the work force and military, still needed to be seen as feminine and desirable.
To view the Paper Dolls Collection please visit Special Collections & University Archives in Seidman House.
As a Research Services Assistant at Seidman House, I worked on a number of projects that supported my goal to work as a museum curator post-graduation. Prior to working here, I did not have experience with providing research support, managing a professional social media account, or all of the steps that go into curating an exhibit.
My favorite tasks were related to building exhibitions. I was able to create six digital exhibits and ten physical exhibits during my time as a student employee. The majority of the exhibitions were in Seidman House, but I also worked on one larger scale exhibition that was displayed at the Mary Idema Pew Library Learning and Information Commons.
I worked on those exhibits from the beginning to the end. This meant I had the opportunity to suggest ideas for what would make a good exhibition and then follow that idea from start to finish. I worked with my supervisor to choose the best materials to feature, design the captions, write captions, and arrange the materials in a display case. One of the main challenges I faced when creating an exhibition was writing the captions because, as an undergraduate student who writes a lot of papers, I am used to writing a lot in order to meet a page or word count instead of trying to condense so that only the most important information is featured. I have learned that text will vary by exhibition depending on whether it is a digital or physical. In a physical exhibit, text needs to fit within the parameters of the case and must be balanced against the item itself; therefore, it’s important to remain concise. In a digital exhibit, however, this is less of an issue. My confidence and skills have significantly increased since I started, but I will continue to work on this in the future.
I also enjoyed the process of setting up a display case. Initially, I thought this would be easy, but once I got hands-on with the materials, I learned it was much harder than I anticipated. A lot of thought has to go into where materials should be placed in an exhibit such as their color, size, and how they coordinate with the other materials. This thought process varies from exhibition to exhibition; a display with just novels is completely different from an exhibit for a special collection with materials ranging from pamphlets to images. Being able to create exhibitions with a variety of materials is a skill that I am lucky and extremely thankful to have been able to improve upon.
It is also important to think about the number of materials that will be in the exhibit because nobody wants a case that looks too full and possibly disorganized or with not enough materials so it feels incomplete.
I have thoroughly enjoyed my time working here and I am so glad that I was able to work on a variety of projects, but the exhibitions will always be my favorite. I feel more confident going into my Museum Studies program this fall because of the great experience I gained while working here.
In this installment of Archives Behind the Scenes, we’ll talk about archival processing. Processing is a shorthand term for all of the steps archivists take to get a collection of archival materials ready for research use.
All materials decay and break down over time, and different materials break down at different rates and for different reasons. The goal of archival preservation is to extend the “lifespan” of materials in the archives so they can be used by researchers well into the future.
One of the best ways that archivists can extend this “lifespan” is by controlling the environment in which the materials are stored. Heat, humidity, climate fluctuations, and the presence of pollutants all have a damaging effect on archival materials. Archives often use specialized HVAC systems to keep the temperature and relative humidity (RH) within acceptable parameters for storing their collections. Because the majority of our holdings are paper-based, we aim to keep our climate around 70°F and between 30%-50% RH.
In addition to systems that provide control over the climate, we also use a redundant climate data logger to record and analyze temperature and humidity in our storage area. This way, we can make adjustments as needed as the weather changes throughout the year. Sometimes even the simplest things, like keeping doors closed and lights off, can improve the conditions in the storage area.
On a smaller scale, we also use containers to hold archival materials that are less likely to cause damage over time. Containing archival materials in acid-free and lignin-free folders and boxes can help to extend their “lifespan.” Lignin is a naturally occurring chemical compound present in many plants. Paper that contains a high percentage of wood pulp also tends to contain a high amount of lignin – which decomposes at a much faster rate than the rest of the plant materials around it.
One great example of the damage caused by the presence of acid and lignin is in old newspapers. Newsprint typically has a very high lignin content, and is highly acidic. Over time, these aspects cause the paper to become extremely brittle. Once the paper has become brittle, there is nothing an archivist can do to reverse it.
In special situations, a conservator may be able to repair some kinds of damage or stabilize very valuable items. More often, when an archivist encounters brittle items that have especially high content value, he or she will use a photocopier to create a copy of the item on acid-free and lignin-free paper.
Other kinds of archival formats need even more attention. As media technology changes, formats become obsolete. Some items, like video and audio tapes, can’t be used in the archives unless there is a player available. As these kinds of media get older, archives run the risk of not being able to preserve and provide access to them due to their obsolescence.
In 2018, the Special Collections & University Archives undertook a major project to have its most at-risk obsolete audio and video media digitally reformatted. Over 150 videotapes, audiotapes, and films were digitized during this project, and now the digital files are securely stored. In addition to a networked storage space regularly backed up and maintained by the the university’s IT department, our digital files undergo a series of digital preservation activities and are redundantly backed up in a cloud-based data archive.
While all of these different preservation needs can be complex and sometimes conflicting, archivists do what they can with limited resources to extend the usefulness of their collections.
The next step archivists take when processing collections is arrangement. Arrangement refers to how the physical or digital materials are organized, and it is governed by two main principles: original order and respect des fonds.
The principle of respect des fonds, sometimes referred to as provenance, proposes that archives should group collections according to the organization, individual, or entity by which they were created of from which they were received.
One way this shapes up in Special Collections & University Archives is with the collections we have relating to the author Jim Harrison. In addition to the Jim Harrison Papers, we also have related collections of his biographer Robert DeMott, his sister Mary Harrison Dumsch, and his former sister-in-law Rebecca Newth Harrison. While materials in all four collections relate to Jim Harrison’s life and literary career, they are all grouped according to their fonds, or creator. Researchers interested in Harrison may need to look through all of the collections – and possibly collections at other archives – to get the full picture of Harrison’s life.
The principle of original order is the idea that if the creator of a set of records created and/or maintained them in a particular way, then that organization should be preserved regardless of how easy or difficult it might be to use. Historians and other researchers may be able to infer or make connections within or about the records or their creator due to the original order of the materials. Archivists should strive to preserve or even re-create original order if one is evident.
However, not all collections have evidence of original order when they are evaluated by an archivist. In these cases, an archivist might decide to organize them in some logical manner to facilitate research use. Common arrangements include chronological order and alphabetical arrangements by names or topics.
Arrangements in archival collections can be simple or complex, depending on the size and nature of the collection. Archivists often group similar items together to create files, and group similar files together to create series. Once an archivist has completed the arrangement of a collection, he or she will then create a record that describes the collection.
Archival descriptions can take several forms. Some archives use the same kinds of catalog records as with books to describe their archival collections. Some archives use more complex records, called Finding Aids, to describe the collection and its creator(s), and often to provide an inventory of the series and files that comprise it.
One of the most important aspects of archival description is providing context. Archival collections are often the product of the day-to-day life or business of a person or organization. It is important for researchers to know who created and maintained the materials, when and where this took place and under what circumstances, and how they came to be placed in the archives. In the same way that preserving original order within a collection can lead a researcher to inferences about a collection, so too can the context of a collection’s creation.
Archivists must do their own research in order to provide this context – often by referring to the collection materials themselves – but also by looking into other primary and secondary sources on the subject. However, archivists try to present only the facts of the matter within an archival finding aid, leaving interpretation and drawing of conclusions to historians and other researchers. While many archivists are experts in their own right on a variety of subjects, we also try to remain impartial when presenting a collection of materials to researchers.
Once the finding aid is published, the collection is open for research use. Boxes and folders are neatly labeled and shelved carefully in our storage area. Researchers can request materials in our reading room, or request remote reference assistance by phone or email.
In the next installment of Archives Behind the Scenes, we’ll discuss the development of our Digital Collections through digitization and collaborative partnerships. We’ll also touch back on some of the ins and outs of our digital preservation strategies.
In a departure from our usual exhibit posts highlighting our exciting collections, this post will kick off a short series of “Behind the Scenes” discussions about what goes on in the Special Collections & University Archives at Grand Valley. In this post, we will discuss how we acquire collection materials, what they’re like when they get here, and what we do once we have them.
Within Seidman House, we have one curator, two archivists, one archives assistant and a couple of student assistants who work to collect, organize, document, and preserve archival materials and rare books. We also have several distinct collecting areas. One, the Special Collections, contains materials collected for their historical value, their connection to regional history, or their connection to the research and teaching interests of the Grand Valley community. The other, University Archives, contains the records, photographs, publications, and media created by Grand Valley State that document the university’s history.
Materials that come into our collections are acquired through transfers, donations, and purchases. Materials accepted into the collections are guided by a collection development policy. This policy describes what kinds of materials are (and are not) collected by the Special Collections and University Archives. It details the types and formats of materials collected, as well as what kinds of contents, topics, geographical areas, and time periods we aim to collect.
Transfers happen when a campus office, faculty member, administrator, or staff person officially deposits their inactive records to the University Archives. Transfers can happen at any time of year, but often occur during the spring and summer.
Not all records created at the university are archival. Some records have long-term value and are considered “permanent” records, but they are not archival because they remain in active use. Other kinds of records, such as student transcripts, may be permanent and have long-term value, but are protected by laws or policies that restrict access to them. Records such as these are usually maintained by the office that creates and manages them.
Other kinds of records, such as routine correspondence, invoices and receipts, and scrap notes with no context, have no long-term value. Even when these kinds of records are no longer in active use, they should not be transferred into the University Archives. Instead they can be shredded and disposed of.
The University Archivist often consults with offices before transfers to ensure that the records are archival, and that they have long-term value and are no longer in active use.
Examples of archival university records include reports, committee agendas and minutes, correspondence of high-ranking officials, official memorandums, course catalogs, official publications, budgets, and high-level planning documentation.
Donations and Purchases
When collecting archival materials and rare books for our Special Collections, we have a modest budget for purchasing materials, and we also accept donations. Collecting decisions made by the curator and archivists are guided by the collection development policy that defines the collecting strategies for the department.
When donations occur, a curator or archivist works closely with the donor to determine if the materials fit our collecting policy and to negotiate the terms of the gift. Donors who own copyrights to the materials can choose to transfer those rights to the university as well. Donors sign a Deed of Gift form that records the donation and details the terms. Once this has taken place, the materials become the property of the university.
When purchasing materials for the Special Collections, the curator reviews catalogs and websites of rare book and manuscript dealers, searches online auction sites like eBay.com, or works directly with the item’s owner to acquire materials that fit our collection development policy. The curator also often consults with archivists and faculty in various disciplines to find out if items available on the market might fill a particular gap or be of interest for classroom or research use.
Once we have received the materials at Seidman House, they may be in any state of condition or arrangement. We are careful to look for certain kinds of problems, like evidence of mold or pests. If left unsolved, these problems can spread and damage other materials in the library. Once we determine that the materials are safe to take in, we accession them, or create an official record of what we acquired, where it came from, how much is there, and any special instructions or restrictions relating to the materials. We then label these new accessions and set them aside for cataloging and processing.
In the next “Behind the Scenes” installment, we’ll discuss archival processing, highlighting the steps an archivist takes to bring a new collection to life.
Special Collections and University Archives acquired a collection of late 19th century early 20th century sheet music. Ragtime arrived, World War I inspired patriotic fervor, and show tunes exploded on Broadway. Many of the compositions included in the collection are written by famous composers. All of the following songwriters were inducted into the Songwriters Hall of Fame in its 1970 debut.
George M. Cohan
Nicknamed “the man who owned Broadway”, Cohan is considered the father of American musical comedies. He wrote, composed, produced, and/or acted in more than thirty-six Broadway musicals. His first big hit was Little Johnny Jones in 1904, which introduced now-famous songs “Give My Regards to Broadway” and “The Yankee Doodle Boy”.
In fact, Cohan wrote more than 300 original songs. “Over There” became America’s most popular World War I song. Other hits included “You’re a Grand Old Flag”, “Forty-Five Minutes from Broadway”, “Life’s a Funny Proposition After All”, and “Always Leave Them Laughing When You Say Goodbye”.
Cohan was awarded a Congressional Medal of Honor for his popular patriotic songs. Shortly before his death, Cohan was able to see the movie “Yankee Doodle Dandy” based on his life, starring James Cagney. Cohan died on November 5, 1942.
On September 11, 1959 Oscar Hammerstein II unveiled an eight-foot tall statue of Cohan in the heart of Times Square on Broadway commemorating Cohan’s contributions to musical theatre in America. Cohan’s status is the only public statue of a theatre performer in all of Manhattan.
After visiting the United States in 1892, Fred Fisher immigrated in 1900. He was famous for writing dozens of Irish songs, including “Peg O’My Heart”.
“Come Josephine in My Flying Machine” was written in the early days of aviation. The song follows a young man courting his girl. Allegedly, the girl was based on Josephine Sarah Magner, who was an early American female parachutist in 1905, and who married aviation pioneer Leslie Burt Haddock.
Fragments of the song are sung in the movie Titanic (1997) by both Jack (Leonardo DiCaprio) and Rose (Kate Winslet) during the Irish party and the “I’m flying” scenes. It’s also featured in an early episode of Peaky Blinders.
Irving Berlin was born Israel Beilin on May 11, 1888. He was an incredibly prolific songwriter, with over 1000 songs to his name. Hi first major international hit was “Alexander’s Ragtime Band”, which sparked an international dance craze.
Berlin produced ballads, dance numbers, novelty tunes, and love songs that defined American popular song for much of the century. Some of his most famous hits include: “Blue Skies,” White Christmas,” “Always,” “Anything You Can Do I Can Do Better,” “There’s No Business Like Show Business,” “Cheek to Cheek,” “Puttin’ on the Ritz,” “A Pretty Girl is Like a Melody,” “Heat Wave,” “Easter Parade”, “Let’s Face the Music and Dance”, and of course “God Bless America.”
Berlin won an Academy Award for Best Song of the Year for “White Christmas” in 1942.
Egbert Van Alstyne
Van Alstyne composed a number of popular and ragtime songs, often teamed with lyricist Harry H. Williams, such as “Who Are You With To-Night?” Our collection also includes “That Old Girl of Mine”, a collaboration between Van Alstyne and Earle C. Jones.
In 1912, Con Conrad published “Down in Dear Old New Orleans”. In 1913 he produced a show on Broadway called The Honeymoon Express, starring Al Jolson. His first big hit wouldn’t come until 1920 with “Margie”. Other famous songs include “Ma, He’s Making Eyes At Me”, “You’ve Got to See Your Mama Every Night”, “Memory Lane”, “Lonesome and Sorry” and “Come on Spark Plug”. He went on to win the first Academy Award for Best Song, along with collaborator Herb Magidson, for “The Continental” in 1934.
Harry & Albert von Tilzer
Harry Von Tilzer was born Harry Gumm in Detroit, Michigan. He ran away and joined a traveling circus at age 14, where he adopted his mother’s maiden name (Tilzer) as his own, and added on a “Von” to seem even more elegant. Eventually all his brothers would also change their last name to match his.
In 1898 Harry Von Tilzer sold his song “My Old New Hampshire Home” to a publisher for $15. It went on to become a national hit, and Harry decided to become a professional songwriter. His 1900 song “A Bird in a Gilded Cage” became one of the biggest hits of that time.
In 1914, Harry Von Tilzer was a charter member of the performing rights society, American Society of Composers, Authors and Publishers (ASCAP).
His younger brother, Albert, also became a songwriter. One of his most notable hits is the classic “Take Me Out to the Ball Game”.
Joseph E. Howard
Howard and his second wife, Ida Emerson, published a syncopated novelty telephone number called “Hello, Ma Baby” in 1899. It sold over a million copies of sheet music within months. A sequel, “Goodbye, My Lady Love,” appeared in 1904. Other notable titles written by Howard include: “On the Boulevard”, “What’s the Use of Dreaming?”, “I Don’t Like Your Family”, “When You First Kiss the Last Girl You Love”, and “A Boy’s Best Friend Is His Mother.” Perhaps the most famous of Howard’s songs is “I Wonder Who’s Kissing Her Now?”, a “cry-in-your-beer waltz” first performed in the 1909 Broadway musical The Prince of To-Night.
For more information on any of the sheet music sampled here, or to view the entire collection, please visit Special Collections & University Archives on Allendale Campus at Grand Valley State University.
On Veterans Day, November 11, 2018 we show our respect and gratitude for the service of our country’s veterans. This year’s celebration is a little more special than past observances, as it marks the 100th anniversary of the ending to World War I.
On this occasion, we invite you to explore these postcards from the Philo Holcomb, Jr. World War I postcard collection. Holcomb was a native of Atlanta, Georgia who served in the U.S. Army from 1918 to 1919. After the war, he traveled extensively in Europe, collecting numerous postcards, travel guides, and maps.
World War I consumed the better part of Europe between the years 1914-1918. Its battles were fought with a brutality that was never before seen. The Great War took a significant toll on the men who fought bravely.
These men were sons, brothers, fathers, uncles, and nephews. Many of them had a family waiting for them to come home. While the soldiers were abroad fighting, the most common method to communicate with family, friends, and acquaintances was through letters and postcards.
Millions of postcards were created between the years of 1905 and 1915. This time period is known as the ‘golden age’ for postcards. In Germany alone, there were about three million printed. In some ways, communication by postcard is similar to today’s use of social media such as Twitter, Instagram, or Facebook. Postcards have a limited amount of space for writing and picture to tell a story. That story could be about the place the person was currently stationed, a place someone visited, or just to reassure loved ones that they were okay.
One could analyze this piece–featuring the French character Rintintin as well as the writing on the back of the card–and see this as him being “jerked away” from focusing on his duties in the Army with his interest in the women of Europe. You can see this again in the postcard below with Philo’s friend Bill having accidentally chased away a girl. Another example how postcards have the power of image and words in a short small package.
Postcards printed during this era sometimes reflected the politics and popular sentiment of the day. During the World War I era, humor became darker, illustrated below in the text of these British postcards.
Some Germans who opposed the war expressed their defiance through art. In the postcard below, one could interpret that it is making a mockery of the people in power. You can tell by the man’s luxurious clothes, clean nails, and wine glass that this is a wealthy man. In the corner of the postcard on the right, there is a small printed statement–SCHENKER– which means “boozer” in German.
Mockery of those in power has often been used by the common people to make their displeasure known. It can be seen in a lot of German artwork for the period of World War I. Mockery is still frequently used to the same effect in the present day, through its proliferation in memes and social media.
But more often than not, postcards were a quick way for soldiers, sailors, and airmen to connect with those they held close to their hearts.
It is important to understand the sacrifices our military veterans have made. Today, we honor them the best way we know how—Thank you, for your service and your dedication to our country.
You can ask any student at any university about researching for a paper, and they will probably tell you a few war stories about trying to find information on a certain topic or subject. Research can be a time consuming and frustrating process for many. Luckily, there are people to help with that research. Archivists keep track of primary documents, and work with archival materials to make sure the information is preserved and accessible to the public.
October is National Archives Month, which means an entire month dedicated to the celebration of the people who keep delicate historical items safe, organized, and reachable by all.
To add my own celebration to the mix, I would like to share with you a little about what I do as a student worker at the Special Collections & University Archives at Grand Valley State University.
My job is to help the archivists in processing material so it can be added to the archives or to the University Library website. I also aid in arranging materials so it is easier for the public to search through, and find what they need.
Processing is a methodical approach of taking massive amounts of information and organizing it into a cohesive and understandable format. Processing can include, but is not limited to: transcribing letters to make it more reader friendly, organizing photos and old documents into file boxes, or preserving damaged material.
A good example of preserving damaged material is the case of the Newspaper Scrapbook.
We received scrapbooks full of articles from WWII years ago. Newsprint, by nature, is highly acidic and is prone to degrading.
These articles were in sore shape, so we had to scan the material to the computer to save that information from being lost to time. This is just one small example of the many things archivists do to preserve material.
What I love most about the archives are the hidden gems that lay deep within the recesses of the University Photograph Archive. The archives are full of photos about all sorts of things. There are photos on previous travel abroad trips, old sorority/fraternity photos, pictures of the building of GVSU, and so much more!
Personally, my favorite is the construction photos of the campus. Seeing the building of a place that I so frequently visit take shape is fascinating. For example, Kirkhof Center–a place where there is a constant flow of students in and out– whether that’s for a coffee, a snack, club meetings, movies, catching the bus, or help from the 20/20 desk.
Compare this to the now dominating structure that lets everyone know that they have made it to the Allendale Campus.
The difference is amazing. I could never see Grand Valley State University without a Kirkhof. But Kirkhof was built in 1974, so there was a time where students did not see the structure that we are so familiar with today. There are tons of photos like these located in our archives and these are just a few examples of the wonderful things we hold. So, when you need a hand in finding sources for your new research topic make sure to remember the Seidman House archives.
This fall marks the 25th anniversary of Grand Valley’s Shakespeare Festival, hosted by Grand Valley State University’s Theatre Department. In celebration of this legacy, we are honoring the Bard’s history on campus. Although the Festival wasn’t established until 1993, GVSU began producing Shakespeare’s works as far back as the 1970s.
The GVSU Shakespeare Festival is a semi-professional organization based out of the Allendale campus. They’ve operated annually since 1993 and are Michigan’s oldest and largest Shakespeare Festival. More than 6,000 patrons attend the Festival activities each season, which include main stage performances of the Bard’s works, high school touring shows, workshops, new plays projects, symposium with visiting scholars, an all-campus student art competition, a Renaissance Festival, and other events.
Their productions are cast from a pool of students, community actors, and guest professionals; union artists are engaged under guest artist contracts administered by the Actors Equity Association. The Festival company operates from mid-August through early November, producing public events starting in late September. By beginning their season in the late summer and early fall, they successfully merge quality productions with the academic life of the University community.
Jake Jager (center) as Dromio of Syracuse in
2014 The Comedy of Errors.
The festival is organized by members of the University faculty and staff, who strive to involve students with all aspects of Festival planning and operation: management, production, fundraising, public relations, acting, design, budgeting and other areas. Each season the faculty and staff also strive to connect Festival activities to important areas of University life outside of dramatic arts: cinema, multicultural affairs, music, philanthropy and public service, alumni, dance, and communications, among others.
In 2016, season audience members were given the opportunity to vote upon which of the Bard’s works would be produced for the 25th anniversary. The winner was King Lear. Above is a photograph from GVSU’s 1973 production of King Lear. The play featured Robert Moyer, a GVSU faculty member, as the titular king and David Dean, an Aquinas College student, as the fool. Director Michael Birtwhistle, a GVSU faculty member, adapted Shakespeare’s text into a more modern-feeling and action-filled play.
This year’s production is directed by Karen Libman, GVSU Theatre faculty and Fulbright Scholar.
The Green Show
The Green Show is a production performed “on the green,” or outdoors, and may even include actors parading their performance between various locations. The photos below are from a 1970s Green Show performance of Taming of The Shrew.
A History of Design
Check out our collection of uniquely designed annual Shakespeare Festival playbills, posters, and mailers!
In 1962, as construction was getting underway at Grand Valley State College, the administrators vacated their downtown Grand Rapids office and moved into several small houses near the new campus in Allendale. While a small gray farm house was selected as the site of administrative offices, a pink ranch house with a two-car garage was chosen to house the college’s budding library collection.
To prepare for the college’s opening in 1963 Library Director Stephen Ford and his staff of seven worked out of this small house, collecting and cataloging over 10,000 books.
When the college finally opened, space was set aside for the library collection in Lake Michigan Hall, the only building that had been completed on campus at the time. Director Ford and his staff packed up the Pink House and moved the library collection to its temporary site.
What became of the Pink House is uncertain, but once the college had opened its doors students made good use of the temporary Lake Michigan Hall Library. Still, students and faculty alike eagerly awaited the construction of Zumberge Library to be complete.
Zumberge Library finally opened in the spring of 1969 and served as the campus’ intellectual center until it was replaced by the Mary Idema Pew Library in 2013. GVSU now has five total library locations on its Allendale and Grand Rapids campuses, and holds over 1.6 million titles in its print and electronic collections.
Among the many instruments that people have devised to communicate with one another, the postcard fills many roles. If you need a simple way to send a quick note, to let someone know you’re thinking of them, to save or send a souvenir of your travels, or merely to document your own surroundings – postcards can meet all of these needs and more.
Port Huron, Michigan. Fire Department parade, 1910
Montrose, Michigan. Flint River Bridge, 1911
The American postcard was first developed in the 1870s, and the first souvenir postcard in the 1890s. They quickly became immensely popular, with their “Golden Era” spanning from around 1907 to 1915.
Grand Rapids, Michigan. John Ball Park, 1905
Grand Rapids, Michigan. Playground at Reeds Lake, 1915
During that period, the U.S. Postal Service introduced the “divided back” postcard, which included a line on the blank side to separate the address area from the message area. Also during this period, Kodak produced a specialized “postcard camera” which enabled the quick production of “real photo” postcards.
For Valentine’s Day this year, we’re taking a peek into some of the most romantic correspondence collections in Special Collections and University Archives. We managed to whittle the choices down to two correspondence collections that really exude love. We hope you enjoy these snippets as much as we do!
First is the Edward Manley and Jean Worthington Letters, which includes a total of 60 letters written by Jean “Jeannie” Worthington and 159 written by Edward “Ned” Manley. The letters were sent between February 15, 1945-June 27, 1946 while Ned was serving in the U.S. Army. Jeannie, however, was a teenager, still in school in Cleveland, Ohio, trying to decide what she wanted to do with her life. A U.S. Army Private, Ned was assigned to an anti-tank company in the 27th Infantry Regiment in Japan.
The love between these two is heartwarming. Though it’s harder to imagine in today’s world of instant connections, letters were one of the only ways separated couples could communicate during the war. The only way to actually “see” your significant other was via photograph or in your dreams. Ned’s and Jeannie’s letters try to show the other person how much they cared through added emphases, terms of endearment, and the occasional inside joke. They both mention how they will be together “always”, sometimes underlining the world, call each other “sweetheart”, and frequently mention 28–the number of children they joke they will have once they are married. They both mention seeing each other in “Dreamland” at the end of some of their letters, alluding to the place they can at least pretend they are with each other. One example is the end of a letter Ned wrote to Jeannie on February 23rd, 1945:
The love these two share is evident, whether they’re talking about their daily routines or how much they miss each other. Many of these letters mention “Someday”, typically in quotation marks, likely referring to their hopes of being reunited after the war. Jeannie mentions “Someday” twice in the conclusion of a letter she sent to Ned on March 2nd, 1945:
The second collection we chose to highlight is the Doris Keirn and Burley Yehnert Letters, containing a total of 34 letters, 21 from Doris (nicknamed “Dorrie”) between November 13th, 1944 – February 4th, 1946 and 13 by Burley “Burl” between December 13th, 1946 and July 29th, 1947. Dorrie’s letters typically discuss school events, since she was attending the Altoona School of Commerce in Pennsylvania, early musical talent, and her heartache over her separation from her fiancée, Burl. During this time, Burl was a Private at various Army Air Force postings before receiving a promotion to Sergeant, stationed in Tampa, Florida in late 1945. While his letters were written after he was discharged from the Army, he struggled to find postwar work, preventing him from moving to Phoenix, Arizona to be with Dorrie.
Through these letters, it is easy to feel the deep love these two had for each other, which make their separation all the most heart-wrenching. For example, on November 25, 1944, Dorrie is listening to a song from one of her records and has to write out all of the lyrics to Burl because she thought it “suits us perfect”. The song is titled ‘Just Plain Lonesome’ by Burke-Van Heusen for the 1942 Kyser film “My Favorite Spy”. To write out every lyric shows just how much she was relating to this song, missing her fiancée and the moments they shared together. Listening to the music while you read the lyrics she wrote out evokes the loneliness she felt and her yearning to be with Burl.
The letters Dorrie sends to Burl are filled with romantic reminders. Some of the envelopes from Dorrie include special notes written on the flap, such as this example from January 21st, 1945 that reads “Close to you I will always stay/Close to you though you’re far away”:
Two letters even contain lipstick kisses:
A few of her letters include her picture glued on, creating a more personal stationery (and one that Burl would enjoy):
These letters are full of references to her love for Burl. She refers to him as her ‘husband’ even though they had not wed yet, and writes continually about how much she misses him and cannot wait until their time together truly begins.
Burl’s letters are also full of his love for Dorrie. Where Dorrie calls him ‘husband’ he refers to her as ‘wife’ – and even points out how often people believe they are already married! He also is sure to tell her how lucky he is to have a person like her love him in return.
One letter even contains an “I Love You My Darling Dorrie” doodle:
Both Dorrie and Burl begin and end each letter by explaining how much they love the other person. These two truly fit the definition of true love.
We hope you enjoyed this peak into these two love related correspondence collections in our Special Collections. If you’d like to see more romantic letters in our Special Collections, be sure to check out the Olexa letters. Happy Valentine’s Day everyone!
Grand Valley was founded in 1960, and its first classes were held in 1963 on a campus under heavy construction along the Grand River ravines in Allendale, Michigan. Still in its early days, Grand Valley organized a contest to design an official seal. The contest received 60 submissions from nearly two dozen entrants, but the winning logo (so the story goes) was an anonymous design found in the college mailbox with no postmark. The prize money of $100 was donated to the GVSU Scholarship fund. Students voted to select the school colors of light blue, black and white.
The official seal can be found gracing numerous publications, promotional materials, and pieces of stationery in the University Archives. The 1960 date at the bottom of the seal reflects the date of Grand Valley’s founding, not necessarily the date of the item on which it is printed.
Alternate logos, such as the one below, with the “G” and “V” connected side-by-side, also cropped up during the mid- and late 1960s.
Grand Valley State Colleges: 1973-1983
In 1973, Grand Valley adopted a “cluster college” organization, and its name changed to Grand Valley State Colleges. This change reflected the distinctive teaching styles of its four colleges: the College of Arts and Science, Thomas Jefferson College, William James College, and College IV (later renamed Kirkhof College).
The Leaf Logo
During the early- and mid- 1970s, the “GV Leaf” logo, depicted below, graced much of the stationery and promotional materials produced by the institution.
The logo’s designer, W-B Advertising Agency, explained that the smooth flowing line making up the “GV” symbol was characteristic of one large school encompassing a number of smaller colleges within. The tree or leaf-like symbol in the center is symbolic of ecology, rural setting, rebirth, and growth.
College of Arts and Sciences Logo
The most traditional of Grand Valley’s four colleges, the College of Arts and Sciences, or CAS, had curricula covering a wide spectrum of disciplines in the arts, humanities, and sciences. This spectrum is symbolized below in the logo that included a rainbow-like arch over the CAS initials.
William James College Logo
The William James College was founded in 1971 and was organized under a philosophy of trans-disciplinary liberal education that emphasized critical thinking and personal fulfillment. Named after the famed American psychologist and philosopher, the college’s logo depicts a portrait of a young William James. This logo can still be found painted prominently on the wall of Lake Superior Hall, the building in which the college was housed.
Thomas Jefferson College Logo
The Thomas Jefferson College’s logo was, you guessed it, a portrait of United States’ Founding Father and President Thomas Jefferson, after whom the college was named.
Though it began in 1968 as the College of General Education, it eventually grew and evolved into an interdisciplinary liberal arts program that was focused on bringing students “into contact with themselves, their personal and academic needs, their capacities, their values, their aims in life, and to help them integrate these elements into an effective whole by providing the necessary opportunities and resources. The college was housed in Lake Huron Hall.
College IV Logo
College IV provided an individualized, modular, self-paced, and interdisciplinary curriculum intended for goal-oriented students who didn’t fit into traditional modes of education. Instead of classes or lectures, students learned through module books and video tapes that could be checked out of the College’s A/V Center.
The learning modules were supplemented by discussion groups, problem-centered projects, and independent studies. The college’s logo features its name and two beaming light bulbs.
In the early 1980s, Grand Valley disbanded the cluster colleges and reorganized with discipline-based academic divisions. Check back later for an exploration of Grand Valley Logos in the 1980s and 1990s!
On June 24th, Grand Valley State University welcomed back members of its first graduating class. Members of the Class of 1967 returned to campus over the weekend to celebrate the anniversary of their graduation 50 years ago.
The Class of 1967 took a chance on the “college in the cornfields.” The 138 students who made up the class (including “pioneer” members who enrolled in the very first year, rather than transferring in later) knew a very different campus from today’s. While the Great Lakes Plaza remains a central academic hub, the size and scope of campus has greatly expanded.
As part of the weekend’s festivities, Special Collections and University Archives toured groups of the alumni through Seidman House.
Archivist for Collection Management, Annie Benefiel, displayed notable items from our collections, while Archivist for Public Services and Community Engagement, Leigh Rupinski, showed them an exhibit of 1960s photographs and documents.
Nancy Turpin and Joe Jonston with Don Hall in physics class, 1967.
Students leave Lake Michigan Hall
Students sitting on a balcony of Lake Michigan Hall
1967 “Free for All” Hootenanny
The 1963-1967 yearbook staff
Alumni were particular interested in the changes to Seidman House itself. Back in 1967, Seidman House was the “Collegiate Center”. It served as a student union, complete with bookstore downstairs. Although the “pit” (where performers like Arlo Guthrie entertained student crowds) remains, its primary purpose now is as a quiet study space for students. Instead of a bookstore, the downstairs houses our climate-controlled stacks.
In the evening, staff attended the “Hootenanny” (party), where we manned a table of 1960s memorabilia drawn from the Archives. Items included yearbooks, student handbooks, the 1967 Commencement program, and course catalogs. Alumni eagerly flipped through memory books to help us identify unnamed faces in our photograph records.
We were thrilled to be a part of the Reunion festivities!
In September of 1973 Grand Valley State Colleges (as it was then known) opened College IV. College IV was so named because it was the fourth college in GVSC’s cluster concept, joining the College of Arts & Sciences, Thomas Jefferson College, and William James College. College IV sought to create a barrier-free approach to higher education. According to the 1973-1974 catalog, “College IV has thrown away the lecture platform and class schedule, freed the student and the professor from the drudgery of fact-passing, and engaged them both as partners in the learning process”.
In College IV, instruction was delivered via “auto-instructional learning modules”. These portable information packets all followed the same format. They included a clear objective, a detailed study guide, and a self-assessment test for students to check their readiness for the final test. Additional tapes or films could be checked out of the A-V Center to supplement the readings. Some modules were conducted as telecourses such as “The Art of Being Human”. Each module was designed to be completed at the student’s own pace in order to encourage full-time workers, parents, and retirees to enroll. To pass, students had to demonstrate mastery over the subject. Only a 90% or “A” grade allowed students to pass–anything less meant restudy and a new final exam.
Since there was no traditional classroom setting in College IV’s design, faculty were expected to be available throughout the day to work with students and answer questions.
Although envisioned as a four-year liberal arts college, College IV had both degree-seeking and non-degree options to emphasize job preparation. The majors included options like biology, chemistry, economics, English language and literature, mathematics, and philosophy. Later on, additional choices such as tourism, real estate and insurance, and advertising and PR were added.
Aside from its innovative curricular model, College IV also sought to meet students where it was most convenient for them. Students interested in enrolling in College IV could register and pay tuition via the “Mobile Campus”. The mobile unit visited area business, factories, and shopping malls on a regular basis. After registering, students could select modules, receive counseling, and take tests at the Mobile Campus.
College IV Mobile Unit
Inside the Mobile Unit
The Mobile Unit on campus
College IV’s home on campus was in AuSable Hall. There, students had a study space as well as a laboratory and learning and testing center. Impressed by College IV’s practicality and dedication to reaching non-traditional students, local inventor and businessman Russel H. Kirkhof donated $1 million to Grand Valley in 1978. College IV was renamed Kirkhof College in his honor.
The University Archives contains administrative records related to College IV as well as numerous samples of the learning modules.