Collecting area: Arts & literature

Mark Sommer, with Zetta, the first newborn goat at the Sommer homestead in northern CA, May 1985

Mark Sommer is an explorer, storyteller, and award-winning public radio and print journalist focused on advocacy and narratives of social, political, and environmental change and positive action. In Washington, D.C., Sommer found himself on hand for some of the 1960s pivotal moments, where he was involved with the Liberation News Service and the New Left think tank, the Institute for Policy Studies. Sommer moved to California in 1969 to explore the counterculture, spending several years journeying – spiritually, psychedelically, and physically between communes, farms, and wilderness homesteads along the western coast – before he and his wife built a self-reliant organic homestead in the deep woods of northern CA, where they lived from the 1970s to the 1990s. The resilience of nature deeply impacted Sommer’s outlook and work as a writer and journalist, driving his interest in the human capacity for overcoming adversity. Sommer founded and directed the Mainstream Media Project, a nonprofit media placement service scheduling leading edge thinkers and social innovators for extensive radio interviews, and Sommer served as host and executive producer of the internationally syndicated and award winning, one-hour weekly radio program, A World of Possibilities. Sommer is the author of three books (Beyond the Bomb, The Conquest of War, and Living in Freedom), and hundreds of op-eds in major newspapers worldwide. Current projects include short and movie length videos crafted from his photographs, films, interviews, and experiences.

Chronicling over five decades of creative and journalistic output of a life-long explorer and progressive advocate, the Mark Sommer Papers are an extensive collection, covering Sommer’s entire career and personal life from the late 1960s to the present. Writings include personal and multiple travel journals (including a unique trip to North Vietnam in 1968), correspondence, student essays, op-eds, articles, project and grant plans, memoirs, and book manuscripts. Additional journals exist in audio format, along with radio interviews where Sommer served as a guest. Slides, photographs, and movies cover Sommer’s family and home life to his wide-ranging travels and interests. Some main topics of coverage include foreign policy and international politics, progressivism, peace and conflict studies, the anti-nuclear and disarmament movements, wilderness and back-to-the-land experiences, and later in life fatherhood. Materials from Mainstream Media Project have been separated into the Mainstream Media Project Records.

In 1589, Pedro Guillén de las Casas of Jaen, Andalusia, began the effort to petition the crown to have his claim to a noble lineage recognized. The carta executoria de hidalguia he sought was the written culmination of a legal process that began with assembling a “pruebas de hidalguia” containing evidence of a noble lineage and testimonies from town or regional officials. The request was submitted to one of two chancelleries that handled lawsuits of nobility, the Real Chancillería in Granada (for southern Spain) or Valladolid (for the north), and if approved, the carta executoria was issued acknowledging, rather than granting, nobility. De las Casas’s petition was approved in May 1590.

Issued in the name of King Philip II of Spain and Portugal at the time of his marriage to Mary I (1554-1558), this document is an exceptional example of the patents of nobility produced in Granada during the late sixteenth century. Bound in contemporary red velvet, it bestows the rank of hidalgo (gentleman) on Pedro Guillén de las Casas, and is illuminated with a series of exquisite miniatures, including one of Philip II, aged 33. The carta appears to be missing a frontispiece and text leaf, but includes a single paper leaf loosely inserted at the beginning with a nineteenth-century depiction of Christ carrying the Cross.

Pat Spaulding camera returning home, 1956 Sept.

In 1956, the graphic designer Pat Spaulding left for a tour of Europe. During her seven months abroad, she and her friend Maureen Jones traveled by motor scooter through France, Italy, Switzerland, Austria, and Germany, staying in hostels and taking in the sights. Perhaps most memorably, Spaulding tore her Achilles tendon while visiting in Siena, Italy, receiving generous care from her hosts during the four-week period of her recovery.

A refreshing record of two young American women traveling alone in Europe during the mid-1950s, this scrapbook is populated with dozens of well laid-out photographs of sites seen, along with Spaulding’s letters home and a raft of ephemera such as picture postcards, copies of ticket stubs and passport pages, an international driver’s license, smallpox immunization certificate, maps, newsclippings, and beer coasters. Notably, the album also includes a number of beautiful, skillfully-rendered line drawings.

The photojournalist John Spragens spent the better part of a decade living in Southeast Asia from 1966-1974, working for a variety of relief and peace organizations.

Taken by John Spragens late in 1983, the black-and-white photographs in this collection document Cambodia shortly after the Vietnamese Army defeated Pol Pot’s Khmer Rouge and installed a new order.

A renowned independent film maker and founder of Gabriel Films, Jonathan Stack has written and produced over two dozen documentary films and fifty television programs. Born in New York City in 1957, Stack graduated from UMass Amherst in 1979. From the time of his film Damned in the USA (1992), Stack has taken on challenging subjects, earning a reputation for gaining access into forbidden and often dangerous situations, from crack dens in Harlem to war-torn Liberia. The recipient of numerous honors in his career, Stack has been awarded five Emmy Awards, has twice been nominated for the Academy Award, and his film The Farm, on Angola Prison, won Sundance Film Festival’s Grand Jury Prize in 1998.

The films and videos in the Stack collection include copies of his work in Liberia and Haiti and material from his documentary on prison rodeos at Angola Prison. The collection includes film from Damned in the USA (1992), Final Judgment (1996), and The Farm (1998), as well as footage from Harlem, Angola Prison, St. Gabriel Women’s Prison, and on body piercing, rodeo, and the prisoner Vincent Simmons.

A theater company of older adults based in Oakland, Calif., Stagebridge is recognized as a pioneer in the field of creative aging. Founded by Stuart Kandell in 1978, the organization sponsors workshops, performances, and other opportunities for lifelong learning that provide a creative means to transform the lives of older adults and their communities through the performing arts. Organized “for and of” older adults, Stagebridge is testimony to the ways in which elders enrich our culture and communities.

The Stagebridge collection contains scrapbooks, photograph albums, news clippings, and some scripts beginning in the earliest years of the organization. Digital materials in the collection are even richer, ranging from videos of performances to promotional materials and organizational records.

Since 1975, Community Development Coordinators for state-level arts agencies in the United States have met annually for the exchange of information, training, and to plan state and national programs for community activity in the arts. Charged with development of both community arts councils and rural arts, CDCs also work to decentralize efforts. In recent years, they have increasingly been engaged in arts and social action programs and in providing a voice on national arts policy.

This small collection documents over thirty years of annual meetings between Community Development Coordinators from state arts agencies across the United States. Organized chronologically, the collection includes agendas, membership lists, communications among organizers, and materials used in workshops and that document the history of CDCs. In 2000, the CDCs began keeping records electronically, though without designating a record keeper. Electronic records have not been included in the collection.

A native of New Jersey, Ronald Steele was devoted to both music and photography from an early age. After a tour of duty with the US Air Force Symphony Orchestra and graduate study in violin performance at the University of Michigan, Steele joined the faculty at the University of Massachusetts in 1963. Active as a conductor as well as a performer throughout his career, he was widely known on campus for his popular course, an introduction to music, which was transformed into an award-winning, nationally-syndicated radio show in the mid-1970s. A founder of the UMass Symphony Orchestra (1963) and the Five College Chamber Soloists, Steele resumed his passion for photography in the late 1970s, opening the Ron Steele Photography Studio, which became an increasing creative outlet after his retirement from the university in 1997.

The Steele collection consists of roughly three linear feet of records documenting his career, including corresponce, programs, notes, teaching materials, and photographs. Reflecting his dual creative interests in music and photography, Steele took dozens of photographs of performers and colleagues.

A miscellaneous collection, primarily of scenic stereocards by major publishers such as Underwood and Underwood.

The composer Robert Stern was Professor of Theory and Composition in the Department of Music at UMass Amherst from 1964 until his retirement in 2006. A native of Paterson, N.J., Stern studied at the University of Rochester and the Eastman School of Music before arriving in Amherst. Noted for his use of Jewish themes and subjects, he has been the recipient of numerous awards and honors, including fellowships from the MacDowell Colony, Yaddo, and the Millay Colony for the Arts.

The Stern collection includes six reel to reel audiotapes of performances of Stern’s work at UMass Amherst. These include music of Blood and Milk Songs (1975), music of Burrill Phillips (1975), the New Music Ensemble (1976), and the Pro Musica Moderna concerts (1979, 1980, and 1981).