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The Irma McClaurin Black Feminist Archive (BFA) is an archival home for Black women and their allies. Founded by Dr. Irma McClaurin, Black feminist anthropologist, academic administrator, award-winning poet and author, past president of Shaw University and leader in higher education, the BFA seeks to identify Black women from all walks of life who are artists, activists, and academics but may not be well known, and document their wide array of contributions at many levels: community, state, national, and global. In addition to being an ongoing resource for academic and community researchers, the BFA also aims to be a training center, where Black archivists can actively participate in their own history and uplift and protect the endangered legacy of Black women. Articles about Dr. McClaurin and the BFA have appeared in the Massachusetts Daily Collegian, UMass Magazine and on the the Black Presence website. Her article, “Black Women, Visible and Heard,” published in UMass Magazine was highlighted when the publication received the Gold level Gold CASE award in 2022.

The BFA is an umbrella collection, made up of a growing and diverse group of collections documenting Black women, allies, movements, and organizations. Highlights include the papers of renown anthropologists Sheila Walker and Carolyn Martin Shaw; Belizean writer Zee Edgell; activist and educator Cheryl Evans, who founded the Black Pioneers Project documenting the experience of Black students at UMass Amherst during the late 1960s; Lawrence (Larry) Paros, a UMass alum and forerunner of the Alternative Education movement in America, past director of the 1968 Yale Summer High School (YSHS); and the papers of Dr. Irma McClaurin, BFA founder, which include her photographs of iconic Black figures. The development of the BFA has been supported by two grants from the Wenner Gren Foundation: The Historical Archive Grant and The Global Initiative Grant (GIG) for “The Black Feminist Archive Pandemic Preservation Project of Black Women Practicing Anthropologists” project

Collections include:

• Zee Edgell Papers
• Cheryl Evans Papers
• Irma McClaurin Collection
• Lawrence Paros Papers
• Carolyn Martin Shaw Papers
• Audrey Smedley Papers
• Sheila Walker Papers
• Mae Upperman Collection

From a childhood spent in a tenement in Norfolk, Va., Carolyn Martin Shaw went on to enjoy a distinguished career as a pioneer in Black Feminist anthropology. Educated in segregated schools, she was an outstanding student, winning scholarship funding to Michigan State University, where she received both her BS (1966) and PhD (1975). Shaw’s dissertation on Kikuyu kinship morality marked several themes that she developed through subsequent research projects in Kenya and Zimbabwe. Based in the Department of Anthropology at UC Santa Cruz throughout her career, she was a productive scholar, publishing dozens of articles and chapters, and two important monographs, Colonial Inscriptions: Race, Class and Sex in Kenya (1995) and Women and Power in Zimbabwe: Promises of Feminism (2015), and she filled a variety of administrative posts, including department chair, Provost of the Kresge residential college, and Chair of the UC system-wide Committee on Privilege and Tenure. She has received numerous awards in her career, including a Fulbright Fellowship to the University of Zimbabwe in 1983-1984, a Danforth Award for Excellence in Undergraduate Teaching, and a McHenry Award for Service to the Academic Senate at UCSC. Shaw retired from UCSC in 2010.

Documenting her work in Black feminist anthropology, the Carolyn Martin Shaw collection includes published and unpublished writing, correspondence, and a wealth of information on her research in Kenya and Zimbabwe. Along with her fieldnotes, research data, and photographs, the collection also includes records of her faculty service at USCS, and awards received for teaching and university service.

Born in 1963, Feuchtenberger was raised in East Berlin, where she trained as a graphic artist at the Kunsthochschule Berlin-Weissensee. Shortly before the fall of the Berlin Wall, motivated by the East German citizens’ movement, she co-founded the political artists’ collective PGH Gluhende Zukunft—a group that ironically called itself the “Glowing Future Productive Collective.” In her comics, theater and political posters, and other works, Feuchtenberger blends different artistic traditions, including German Expressionism. Her work frequently reflects her feminist activism by focusing on the relationship between women and their children and society. Since 1997, she has taught drawing and media illustration at the Academy of Applied Sciences in Hamburg, Germany.  

The works included in this collection were part of the first major solo exhibition of Feuchtenberger in the U.S. curated by UMass MFA student Bibiana Medkova and on display at the Olver Design Building in 2018. The collection itself was donated by German Filmmaker Jörg Foth. Both Foth and Feuchtenberger were active in the art scene at the time of German reunification and their work occasionally overlapped. For example, Feuchtenberger created film posters as well as art for the opening titles, closing credits, and intertitles for Foth’s 1994 film, Tir na nOg. The works in this collection reflect Feuchtenberger’s printing oeuvre for theaters, plays, and films during the 1990-2000s with a focus on works in color, and including a selection of black and white drawings and political artwork of the post-Berlin-Wall pre-unified Germany era.

Gene Bruskin arrived at Princeton in 1964 as a basketball player and left as a political radical. After taking part in the Second Venceremos Brigade, Bruskin got involved in antiracist and labor organizing in Boston. As president of the United Steelworkers of America local during the busing crisis of the 1970s, he helped win overwhelming support among the city’s bus drivers to have the union represent them, leading successful campaigns for better wages and working conditions. In the years since, he has held numerous high-profile positions nationally and internationally, including as labor director for Jesse Jackson’s Rainbow Coalition, Secretary Treasurer for the Food and Allied Service Trades Department of the AFL-CIO, and co-convener of U.S. Labor Against the War, an organization promoting peace and the demilitarization of U.S. foreign policy. Bruskin was a major figure in the largest private union election in the history of the United Food and Commercial Workers when he led the successful campaign to unionize 5,000 workers at Smithfield Foods in North Carolina. Since retiring in 2012, he has continued to consult with unions. In addition he has returned to some of his earlier undertakings in producing cultural works as a poet, songwriter, and playwright, centered on social justice and working class themes.

Documenting nearly fifty years of activism, Gene Bruskin’s papers are an exceptional resource for the labor movement in the 1970s through early 2000s, and particularly its radical end. Although Bruskin’s early years are relatively sparsely represented, there is a significant run of Brother, the first anti-sexist, “male liberation” journal that he helped found while in Oakland, and the collection includes important material from his work in Boston with the Hyde Park Defense Committee, the Red Basement Singers, and especially with the School Bus Drivers and their tumultuous three-week strike in 1980. The collection also contains a rich assortment of material on labor left and antiwar organizing in the 1990s and 2000s, the Justice at Smithfield campaign, and Bruskin’s work on behalf of single payer insurance, for International Solidarity, the American Federation of Teachers, and the Brotherhood of Maintenance of Way Employees.

In 1944, eighteen-year old Herman B. “Keek” Nash enlisted in the Army, and after intensive Japanese language training, was assigned for duty as an intelligence officer in American-occupied Osaka, Japan. Settling in northern New Jersey after his discharge from the service in 1947, Nash held a succession of jobs, including brakeman on the Pennsylvania Railroad, before deciding to try his hand at teaching, earning a master’s degree in education at Columbia Teachers College. A solid leftist politically and a strong supporter of social justice causes and civil rights, he marched with Martin Luther King at Selma and Washington, though his ardor and political convictions came at a cost. Investigated by the FBI for alleged Communist sympathies in the late 1950s, Nash was fired from his position teaching high school science in Teaneck, N.J., in 1969, after leading a sit-in protest against school tracking. He subsequently returned to work on the railroad, where he was active with the union and took part in efforts to increase participation by African Americans and women. Yoneko Nash, Nash’s wife of 43 years, died in 2004, with Keek following in 2010.

A rich assemblage, the papers of Herman Nash offer a glimpse into the life experiences of a socially conscious veteran of the Second World War. Nearly a quarter of the collection stems from Nash’s time in the military service, including while he was learning Japanese at the University of Chicago (1944-1945) and while he was stationed in occupied Japan from spring 1946 through the following winter. Among other noteworthy items are a thick series of intelligence reports on the reaction of the local population to the occupation, noting episodes of civil unrest, crime, and other forms of social instability. The collection also contains a significant body of correspondence with family and friends, including serval whom he met in Japan. The balance of the collection relates to Nash’s interests in social justice causes, highlighted by a significant series of photographs taken during a massive civil rights demonstration in Montgomery, Ala.

Founded in 1975 in Lebanon, NH, by Beth Dingman, Claudia McKay (Lamperti), Katie Cahill, Nina Swaim, and Shelby Grantham, New Victoria Printers became one of two all-female print shops in New England at the time. Believing strongly that “the power of the press belongs to those who own it,” they began to solicit work from non-profit and politically-oriented groups. Like its namesake Victoria Press, an 1860s women run print shop in London owned by Emily Faithful, an early advocate of women’s rights, New Victoria was also committed to feminist principles. The shop offered work and training in printing, machine work, and other traditionally male dominated fields; initially focused on printing materials from the women’s movement; and was organized as a collectively owned and democratically run organization.
Additionally, the shop functioned as a de facto women’s center and lesbian hub for Lebanon and the surrounding area, often overlapping with the lesbian social club Amelia Earhart’s Underground Flying Society, (a.k.a. the Amelia’s). The print shop was a place of education, community, creativity, and activism, and soon publishing opportunities, as the group founded New Victoria Publishers in 1976 to publish works from their community. The print shop closed in 1985, with Dingman and McKay taking over the running of the non-profit publishing company out of their home in Norwich, VT, with an emphasis on lesbian fiction in addition to other women-focused works. An early bestseller, Stoner McTavish by Sarah Dreher, put them on the map, with the company publishing over a hundred books by and about lesbians, winning three Lambda Literary Awards and several other honors.
The New Victoria Publishers Records consist of photographs, newsletters, and cards put out by the collective, materials printed by the press, marketing and promotional materials, author correspondence, graphics and cover art, book reviews, financial and legal records, histories of the organization, news clippings, and an almost full run of the books published by the company. The collection is particularly rich in documenting the work and production of a women owned business within the feminist press movement as well as the lesbian publishing industry.

I was born in Washington, D.C., in an unwed mother’s home. I spent my earliest months living with my maternal grandmother and two teenage aunts–one of whom was abusive. My mother married my step-father in 1960; I was eleven years old when I discovered he was not my biological father. My mother suffered from psychotic schizophrenia; my step-father was frequently violent in our home; my younger, half-brother struggled with a severe learning disability, early drug addiction, and later untreated paranoid schizophrenia. After years of physical and sexual abuse, I escaped my destructive, troubled family when I was fourteen–having previously run away twice. I became a ward of the state of Maryland (my family had moved into Prince George’s County when I was much younger). I lived with three foster families until I was nineteen. I was determined to use education as a way out of poverty and violence. I attended Prince George’s Community College, then the University of Maryland in College Park where I earned a BA in Hearing and Speech Sciences in 1982. I worked at the radical Maryland Food Collective from 1981 to 1984 which profoundly impacted my life: politically, socially, and sexually. In 1985, I moved to Plainfield, Vermont, where I attended graduate school at Goddard College, receiving an MFA in Writing and Women’s Literature in 1987. After teaching for five years in Boston, at Fayerweather Street School and at the Jamaica Plain Community Centers–Adult Learning Program, I went to Massachusetts College of Art, earning a BFA in Three Dimensional Fibers in 1997. I lived for a year in Germany, 1980-1981, and in Honduras, 1997-1998, where I taught cognitively disabled adults and 8th graders, respectively. In 2002, after living in Boston for four more years, I moved to Twin Oaks Community in Louisa, Virginia. During my long membership, I left twice for extended periods. In 2006-2007, I traveled for eight months in the U.S. and in New Zealand. In 2014, I spent seven months in Amherst and in Boston working on my papers, followed by four months of travel across country and back visiting loved ones as I wrote my autobiography. In the beginning of 2015, I again made Twin Oaks my home.

My collection consists of nearly 300 journals (which include copies of my letters sent), all correspondence received since 1972, many of my artist books, as well as some of my other art work. My bequest is also comprised of my educational documents, my personal health records, my photographs, some family papers, Twin Oaks ephemera, a family tree, a friendship web, a few favorite books, two interviews, etc. What I have written and saved since I was twelve years old fills 84 linear feet: it is my life’s work. I have given, and will continue to give, my papers to UMass Amherst for safekeeping and so that my life–as an incest and battering survivor, as someone raised working class, as a daughter of a mentally-ill mother, as a radical feminist, as a diarist, as an avid letter writer, as an artist, as a bisexual, as a woman who chose neither to be a wife nor a mother, as an attentive niece, as a communitarian, as a traveler, and as a devoted friend–will not be erased.

Revolutionary organizers, writers, and theorists, Eric Mann and Lian Hurst Mann have been active in the struggle for civil rights for decades. The son of Jewish Socialist and labor organizer from New York, Mann came of age during the early phases of the Civil Rights movement and after graduating from Cornell (1964), he became field secretary for the Congress of Racial Equality. Increasingly radicalized through exposure to Black revolutionary nationalists, Mann took part in the Newark Community Union Project and became a leader in anti-imperialist opposition to the war in Vietnam as a New England regional coordinator for the Students for a Democratic Society (SDS) and later with the Revolutionary Youth Movement I — the Weatherman above-ground tendency of SDS. Following a militant demonstration at the Harvard Center for International Affairs late in 1969, Mann was convicted of assault on the basis of perjured testimony and sentenced to two years in prison. An organizer of his fellow prisoners even behind bars, he was “shipped out” often in the middle of the night, from prison to prison, spending the last year at Concord State Prison. After being released early in July 1971, he continued his prison activism through the Red Prison Movement. At the same time, as a writer, he earned a national audience for his book Comrade George: an account of the life, politics, and assassination of Soledad Brother George Jackson. Feeling himself at a low point in his radical career, Mann met Lian Hurst while vacationing in Mexico during the summer 1974. Hurst, a leader in the Berkeley Oakland Women’s Union, architect, and a strong Socialist Feminist, soon became his partner in life and politics, and Mann left Massachusetts to join with her in Berkeley. Hurst lead a group of women from BOWU who formed a “Thursday night group” and left the organization with the polemic, “socialist feminism is bourgeois feminism” all of whom moved towards integrating women’s liberation and Marxism-Leninism. At her urging, the two took part in Marxist Leninist party building, becoming union organizers with the United Auto Workers, and eventually moving to Los Angeles. Hurst was elected shop steward by her fellow workers as a known revolutionary. There, Mann led a campaign to keep the Van Nuys assembly plant open (1982-1992) — captured in his book, Taking on General Motors. They joined the August 29th Movement and its successor, the League of Revolutionary Struggle. They left LRS in 1984. In 1989, Mann and veterans of the GM Van Nuys Campaign formed the Labor/Community Strategy Center, which has been a primary focal points for their work ever since, helping to build consciousness, leadership, and organization within communities of color. Hurst became editor of AhoraNow, an innovative bilingual left publication that featured articles by Black and Latino working class leaders and helped initiate the center’s National School for Strategic Organizing. In 2003 Hurst wrote, “Socialist Feminism: Thoughts After 30 Years” for AhoraNow, a critical re-engagement of those important debates from an historical perspective after a 30 year reunion of BOWU’s key leaders. Mann’s latest book is Playbook For Progressives: 16 Qualities of the Successful Organizer. Hurst and Mann continue to write and agitate in the cause of revolutionary change, particularly for oppressed communities of color.

The Mann-Hurst collection contains the records of two lives intertwined with one another with the cause of liberation of Black and Latino communities, women, and an internationalist pro-socialist anti-imperialism. Containing a nearly complete set of publications, the collection also contains early materials on Lian Hurst’s work with BOWU and the both Eric and Lian’s time as organizers for the UAW and their participation in the August 29th Movement and League of Revolutionary Struggle. Of particular interest are a series of letters home written by Eric during his imprisonment. The collection contains comparatively little on Hurst and Manns’ more recent work with the Labor/Strategy Strategy Center or Bus Riders Union

A 1968 graduate in mathematics from MIT, Ferd Wulkan has been a fixture in activist circles for many years. A member of SDS in college and a rank-and-file clerical union leader at Boston University, Wulkan moved to Amherst in 1989. His passion has been the intersection of the labor movement with other progressive movements; he served for 15 years as a field representative with Locals 509 and 888 of SEIU, working with non-faculty professional personnel at UMass Amherst and Boston, and then as a representative and organizer for the Massachusetts Society of Professors from 2004 to 2016. In 2007, Wulkan became organizing director for the Public Higher Education Network of Massachusetts (PHENOM), a grassroots advocacy organization for affordable and accessible public higher education.

The Wulkan Collection consists of a fascinating array of material from Leftist and radical political movements during the late 1960s and early 1980s, with an emphasis on the Cambridge-Somerville area. In addition to a rich assemblage of formally published pamphlets and magazines, the collection includes a large number of fliers, handouts, informally published works, and underground newspapers on Socialist, Feminist, and anarchist topics and relating to the war in Vietnam, the labor movement, civil rights, and Black Power. The collection also contains three unprocessed boxes of material related to the clerical/technical union at Boston University. This union was affiliated with District 65, UAW, and District 65 had been part of the Distributive Workers of America, and affiliated with the United Auto Workers in the early 1980s. Related to this collection is a thesis by Leslie Lomasson, who worked at BU and completed her Master’s at UMass Amherst: “We Built the Union Ourselves: A Feminist Model of Unionism at Boston University” (1994).

The University’s first Dean of Students, William F. Field held the post from 1961 until his retirement in 1988. The 27 years Field was Dean of Students was a critical time of growth and unrest, as the University’s student population more than tripled in size and the nation-wide movements for civil rights and against the Vietnam War were reflected through student activism and protest on the University’s campus. Responsible for ending student curfews and overseeing all dorms becoming co-ed, Field also worked with minority students and faculty to support the Black Arts Movement on campus and the founding of the W.E.B Du Bois Afro-American Studies Department.

The William F. Field Papers document Field’s career as an administrator at the University of Massachusetts and specifically his role as Dean of Students from 1961-1988. The correspondence, memoranda, reports, notes, and other official printed and manuscript documents are a rich resource for one of the most important and volatile eras in the University’s history. Of particular interest are extensive files on student protests and activism in the late 1960s and early 1970s and the growing diversity of the campus student population, flourishing of the Black Arts Movement on campus and the founding of the W.E.B. Du Bois Afro-American Studies Department.