Tanya Zanish-Belcher: Welcome everybody we're going to wait a minute or two, and then we will get started.
Tanya Zanish-Belcher: Okay we're going to go ahead and get started.
Tanya Zanish-Belcher: Welcome everyone to creativity, history and scenes a conversation with archivists on tanya's ganesh belcher director of special collections and archives for wake forest university.
Tanya Zanish-Belcher: And I will be serving as your moderator today, we are currently in a zoom webinar so the panelists are not necessarily able to see or hear the attendees who are also muted.
Tanya Zanish-Belcher: Please be sure and sign up for closed captioning when the prompt appears if you need to do so.
Tanya Zanish-Belcher: We will have some time scheduled at the end for you to submit questions and comments via the zoom Q amp a for the panelists to respond, I will also be sharing out some links during the presentation through chat.
Tanya Zanish-Belcher: We are recording this session, and once reviewed, we will make it available on the CSR library YouTube channel I like to say a special thank you to Rebecca peterson may our public services archivist and wake forest it for handling our technical support today.
Tanya Zanish-Belcher: Finally, for any faculty or students joining us today from wake forest and beyond, I would highly encourage you to work with your archives on collecting scenes from individuals or from classes.
Tanya Zanish-Belcher: They offer us a tremendous opportunity to capture voices, who are often left out of any official documentation or the institutional record.
Tanya Zanish-Belcher: So now to our panel our panelists have seen experts today are Kelly wooten Kelly is the research services and collection development librarian for the Sally bingham Center for women's history at Duke university.
Tanya Zanish-Belcher: She is also the author of scenes as primary sources, which I will share in the chat Kelly will talk about the history of scenes and collection development issues for the collection, at Duke.
Tanya Zanish-Belcher: lauren brewer lauren is the head reference librarian at high point university and as an active xen creator.
Tanya Zanish-Belcher: lauren will be doing a live DEMO of creating a scene, so please have your set scissors and paper handy she will be also be discussing issues relating to the preservation and access of scenes.
Tanya Zanish-Belcher: And libby coin or Libya xen librarian and the archivist and assistant library and for ilan university.
Tanya Zanish-Belcher: libby will discuss collaborative partnerships and also share why xena can be so important for archives and can enable us to expand our collections beyond traditional documentation.
Tanya Zanish-Belcher: I will share a couple of starting questions for each panelist and they will respond to those and it is very possible they may engage with each other and conversation or observations.
Tanya Zanish-Belcher: So we're going to start with Kelly, who will share her screen Kelly, can you briefly describe the history of scenes when did people start making them and why.
Tanya Zanish-Belcher: And, can you tell us about the collection at Duke, what is your collecting policy and what challenges, do you face and caring for and collecting scenes.
Kelly Wooten (she/her): Thank you for that great introduction and thank you to everyone for being here i'm really excited to be with you, especially my panelists and community to talk about scenes this afternoon, even if we can't see here.
Kelly Wooten (she/her): bright shining faces me you're happy that you're here together with us, so I invited to as Kenya mentioned share a little bit about the history of scenes and about the question at the salary being in Center it university.
Kelly Wooten (she/her): advance the slides correct.
Kelly Wooten (she/her): So I like to start with a brief history of scenes and one love for you to share your guesses about how or like how old is the earliest the window and xena start.
Kelly Wooten (she/her): And I think can chat with everyone, I think you can put a message to the hosts into the chat if you want to just type in a guest, for your date.
Kelly Wooten (she/her): or.
Kelly Wooten (she/her): decade or period you think seen started for maybe you can post it into the Q amp a.
Kelly Wooten (she/her): Alright cool I have some folks coming into the chat so all right.
Kelly Wooten (she/her): 19 3040 years.
Kelly Wooten (she/her): I think there might be a ringer in the crowd I won't read the answer, seven years 1950s, a couple of folks guessing.
Kelly Wooten (she/her): And you're anonymous here, so you can make a wild guess, and no one will do, but me.
Kelly Wooten (she/her): Oh question how old are Xerox machine that's a great question 60s.
Kelly Wooten (she/her): bronte sisters made scenes wonderful.
Kelly Wooten (she/her): cool I love you the answers there's a such a good variety 1740s awesome think that was the earliest guess.
Kelly Wooten (she/her): cool oh spoiling my whole talk by scrolling my mouth.
Kelly Wooten (she/her): Alright, so this is still up for debate.
Kelly Wooten (she/her): But generally seen so let's look at this publication, called the comment, as the first science fiction fantasy so fancying a short for fan magazine, which has been shortened to fanzine which is inserted into the in.
Kelly Wooten (she/her): The in the 1930s, you can see, this beautiful illustrated cover from it 40 issue.
Kelly Wooten (she/her): So I personally feel like beans really fit into this long tradition of self publishing so as soon as the printing press was available to folks people were writing political and religious tracks to distribute.
Kelly Wooten (she/her): And that tradition has continued as printing technology, like the Xerox machine, as someone mentioned has developed so as long as people have been able to write and publish they've been writing.
Kelly Wooten (she/her): materials that could be considered, like the and spa we usually just go with the 1930s science fiction fantasy and as part of the origin story.
Kelly Wooten (she/her): And just jumping forward in the 60s and 70s, we see a lot of counterculture and underground press.
Kelly Wooten (she/her): That is being published, particularly in the US, in association with the movement for civil rights publications were, of course, a really important part of the women's liberation movement.
Kelly Wooten (she/her): And then later in the 70s and 80s punk music was emerging as a filler some culture and going back to the print technology if people were more easily able to create distribute their own publications in an affordable way.
Kelly Wooten (she/her): So the collection at this valley being Center is really grounded in force kind of the core is with the.
Kelly Wooten (she/her): 1990s or a girl movement, and this is a little snapshot of a few highlights from the timeline from the 1980s.
Kelly Wooten (she/her): Through the 90s kind of pointing out some of the big things that happened during those decades, so a lot of the groundwork for modern culture and the right girl was late during the 1980s in.
Kelly Wooten (she/her): Washington DC there was a punk scene, that was becoming politicized and women who participated in those music scenes and other spaces were calling out for taking the sexism of that community.
Kelly Wooten (she/her): and 1990s Brett girl of Hong co evolved with third wave feminism sparked in part by the testimony of me to fill against Clarence Thomas in 1992.
Kelly Wooten (she/her): Rebecca Walker you may know, as Alice walker's daughter wrote an article from his magazine called the coming of the third wave, where she articulated this this moment where people were.
Kelly Wooten (she/her): recognized and what was happening in the supreme court hearings around planets Thomas, and I find that her article.
Kelly Wooten (she/her): Really resonates with me and I always make from it, when I get the chance so she wrote to me the hearings were not about determining whether or not Clarence Thomas did in fact.
Kelly Wooten (she/her): harass Anita hill they were about checking and redefining the extent of women's credibility and power.
Kelly Wooten (she/her): She goes on to write but thomas's confirmation serve to remind you, as it did mean that the fight is far from over.
Kelly Wooten (she/her): Let this dismissal of a woman's experience move you to anger turn that outrage into political power do not vote for them unless they work for us.
Kelly Wooten (she/her): Do not break bread with them do not nurture them if they don't prioritize our freedom to control our bodies and our lives, I am not a post feminism feminist I am the third wave.
Kelly Wooten (she/her): So I feel like those quotes really capture that moment, in a way that brings together the political awakening in the early 1990s, in combination with some of these pop culture moments and.
Kelly Wooten (she/her): Is when also when influential article was published in Newsweek that sort of took this underground movement and highlighted it so that people across the country became aware of it, the scenes were.
Kelly Wooten (she/her): being reviewed and then send in mainstream women's magazines like 17 and sassy and the core of right girls kind of happening and then almost as quickly is ending.
Kelly Wooten (she/her): And I always like to also to highlight that kind of towards the end of the 90s, we have the Internet happening, which had a big impact on culture, but didn't wait extinguishes beans and the way some folks imagine.
Kelly Wooten (she/her): So what is right girl it included music scenes are spoken word direct action activism and called on a DIY or do it yourself ethic and an ethic of anti expertise you.
Kelly Wooten (she/her): Always laugh when folks refer to us as the experts that because it's a little bit antithetical like we have a lot of experience with them, but sometimes we like to read reject that that.
Kelly Wooten (she/her): authority in a way.
Kelly Wooten (she/her): So the right girls happening, and like 91 to 96 and the bands and activists to point that term or geographically located in the Pacific Northwest won't be a Washington around.
Kelly Wooten (she/her): There portland Seattle, then later in Washington DC and when those articles that I mentioned hit the mainstream and Newsweek and other magazines.
Kelly Wooten (she/her): People who were in the core of referral rejected that media coverage that portrayed them in ways that they found to be miss representative, which is still a problem today with.
Kelly Wooten (she/her): an activist movements, the women's liberation movement of the 60s and 70s struggle with it the black lives matter movement struggles with it today there's always sort of like a.
Kelly Wooten (she/her): kind of.
Kelly Wooten (she/her): An immediate focuses on one or two aspects of the people who are teaching, a movement that are not necessarily reflective of their.
Kelly Wooten (she/her): activism, so this image is of a flyer that was inspired by text for the right girl manifesto that was published originally and Kathleen Hanna seen but can you tell them in 1991.
Kelly Wooten (she/her): It says and just going to skip to the end, that you, you can't see on the flyer it says, because every time we pick up a pen or an instrument or get anything done, we are creating the revolution, we are the revolution.
Kelly Wooten (she/her): And even though right girls relatively short and small movement this map from a project called alien she represents the distribution of rat girl chapters in the US.
Kelly Wooten (she/her): It extends beyond that, but you can see that it wasn't just a nice little spots on the coast, that really what wouldn't, I guess, we could say viral now.
Kelly Wooten (she/her): But it really caught the imagination that folks who were all over the US kind of in their own bedrooms and doing their own things they could identify with this.
Kelly Wooten (she/her): feminist movement on their own and claim that title and.
Kelly Wooten (she/her): create a great girl chapter benefit was just their themselves or their their siblings or a small group of friends.
Kelly Wooten (she/her): So i'm.
Kelly Wooten (she/her): start to wrap up my part and.
Kelly Wooten (she/her): and talk a little bit about who was writing scenes and then move into what the bm Center is collecting.
Kelly Wooten (she/her): So you will probably not be surprised to hear that zoom's, and particularly those scenes of the 1990s that are in our collection and the thing and Center are written by middle class white.
Kelly Wooten (she/her): Women and their teens and early 20s and that they have the time and freedom to put together scenes and the privilege of making therapy point.
Kelly Wooten (she/her): feeling to their own viewpoint was invaluable and it's been written that the unmaking does require certain social privileges and leisure time you need time confidence and resources and.
Kelly Wooten (she/her): But I would also argue that the technology is very accessible as you're going to find out well lunches you had to fold a mini that just you know paper and scissors and a pen.
Kelly Wooten (she/her): And you don't have to have a lot of time and energy you don't have to have the fanciest design software or artistic skill, but.
Kelly Wooten (she/her): it's one of the few things that can still be relatively anonymous and easy to conceal and your backpack.
Kelly Wooten (she/her): And really creates a potential for person to person intimacy and I are you do the scenes continue to hold a particular space for Trans in your votes, which will be going to talk about a little bit later I hope.
Kelly Wooten (she/her): So you know our collection is prayer predominantly white, just like many archives are predominantly white.
Kelly Wooten (she/her): But that doesn't mean that there weren't women of color people of color and flogged and meant writing making music and participating in this in this culture.
Kelly Wooten (she/her): So the scenes that I have pictured here stop shop and seamstress and evolution of our free spray it or to the highlights that I really like to use as examples.
Kelly Wooten (she/her): i'll start with evolution of a race riot maybe tie new in who edited this this piece put out her call for submissions in 1995 as a direct reaction to anthologies written by foreign about white women.
Kelly Wooten (she/her): And she writes in the intro to this piece, that the compilation was written exclusively by people of color around punk and girl Jean with three r's and in order to begin a dialogue with each other, or rather by foreign about.
Kelly Wooten (she/her): Indian community with people of color not primarily intended for a wider audience but.
Kelly Wooten (she/her): And not intended to educate white people it's more to be in conversation with among the Community, a majority of the contributors to this volume or Asian American or biracial although it's taller than that.
Kelly Wooten (she/her): And again who's a gender studies, Professor now wrote the race riot has lagged years behind the girl one for reasons that should be obvious by now white boy mentality became a legitimate target.
Kelly Wooten (she/her): But white girls racial privilege and discourse when unmarked except among those of us who are never white I feel like this her assessment really resonates with today's facial recognition with white privilege and white supremacy and the critiques of that.
Kelly Wooten (she/her): I also really love shotguns seamstress which was published in the 2000s demonstrates the long tail of referral and the.
Kelly Wooten (she/her): creation was written by or edited by oh so he was a Nigerian American who also wrote for the mainstream music scene maximum rock'n'roll and I love her introduction to shut down seamstress.
Kelly Wooten (she/her): She writes the scene is by four by and for black punks clears misfits feminists artists musicians weirdos and the people who support us the scene is meant to support by people who exist within predominantly white subcultures and to encourage the creation of our own and.
Kelly Wooten (she/her): we'll go into detail on this here, but this particular issue has a letter by brontes for now so by a man who is a poet and published writer now you were busy.
Kelly Wooten (she/her): at school and he recalls writing a letter to Kathleen Hanna of Bikini Bikini kill when he was in high school.
Kelly Wooten (she/her): And was absolutely thrilled when she responded with some words of inspiration so even though right girl wasn't created by or for young blake black gay men growing up in Alabama branch has found a point of connection there through the music everything that he discovered through seven.
Kelly Wooten (she/her): So it's a collection of the selling things Center and started in the early 2000s and 2001 when Sarah dire and i'm going to make you all see sit by scrolling back to the first slide.
Kelly Wooten (she/her): And then, then all is the action girl guide can see the drawing of a girl sitting on a pile of beans.
Kelly Wooten (she/her): Sarah Dyer was one of those folks who was noticing that the move the space that she were in were dominated by men and created her own space for women and girls voices to write scenes and.
Kelly Wooten (she/her): The original archivist of the cell IBM Center.
Kelly Wooten (she/her): Jenny dailies was interested in seeing those those trying to collect them in the 90s, as they were happening, but wasn't able to make that work.
Kelly Wooten (she/her): For a number of reasons, but she was in touch with Sarah diet, or who remembered this connection and placed her collection with us when Christina Christina fructose might be in the audience today and amy mean we're leading the cell leaving and Center at the time.
Kelly Wooten (she/her): And i'm.
Kelly Wooten (she/her): So, since that first collection was placed with us, and we have grown to over 6000 cuisines and counting and we are collection is primarily by women and girls, but as gender inclusive and expansive.
Kelly Wooten (she/her): And we focus on collecting scenes by people of color Baron trans folks and themes that align with other areas of interest, like the American south.
Kelly Wooten (she/her): We love travel scenes because they correlate with the women's travel diaries of the 19th century that we collect.
Kelly Wooten (she/her): The informed reproductive health and sexuality domestic culture feminism activism Labor and they really align really nicely with our broader one says three collections, in a way to completing those women's voices forward into the future, and one thing that is christine's here.
Kelly Wooten (she/her): And, and what with our collections, we do a lot of instruction and workshops like this and outreach and some of the fun things that we've done are participating in the Durham.
Kelly Wooten (she/her): The machine fast which lauren has participated in and will be has it's been did and and.
Kelly Wooten (she/her): it's really wonderful that we've been able to take this kind of archival collection and bring it out and about into the Community through online presentations like this and in person presentations and.
Kelly Wooten (she/her): I saw this wonderful quote from maybe trying to end in the evolution of a race riot that I wanted to close with before I pass off to war and.
Kelly Wooten (she/her): kind of resonated with the spaces that.
Kelly Wooten (she/her): We try to facilitate so she wrote about her this has been evolution of a race riot rates it works, this will be the one and only for now portable punk rock.
Kelly Wooten (she/her): Community of color companion reader that best maybe it will really be a race riot and we can start here by throwing Molotov and poisoning the well by making plans to rendezvous with others have our kind and dingy clubs well in bookstores and comfy living rooms so.
Kelly Wooten (she/her): i'll leave it.
Tanya Zanish-Belcher: Thank you Kelly.
Tanya Zanish-Belcher: All right, lauren I think you are up and you're going to demonstrate actually creating zane and while you do that or before you do, that would you like to talk about what you enjoy about the process.
Tanya Zanish-Belcher: And then, would you also describe the preservation and access issues archivists can face when scenes, which are often ephemeral one of a kind items are part of your collections.
Lauren Brewer: Sure, thank you um so like tanya said i'm lauren brewer.
Lauren Brewer: And i'm the head of reference services at high point University in high point North Carolina and.
Lauren Brewer: I think similar to many Librarians an archivist that.
Lauren Brewer: Are you know involved in themes, whether that's the library and ship or making themes.
Lauren Brewer: I had some interest in themes as a teenager but my kind of full fledge introductions actually as an intern with Kelly at the being of Center.
Lauren Brewer: And then.
Lauren Brewer: outside of my work in libraries, I also.
Lauren Brewer: I guess used to table at the same best before the pandemic.
Lauren Brewer: And I was one of the organizers of the Greens protein fest in greensboro North Carolina and the previous institution, I worked at I taught a xen focus freshman seminar class.
Lauren Brewer: Three three years in a row and.
Lauren Brewer: Especially through that class I realized that teaching folks how to make themes, is one of the best things ever.
Lauren Brewer: It can be exciting and empowering for people to be able to tell their story or to create a scene that.
Lauren Brewer: You know they get to talk about something they're passionate about really as much as they want.
Lauren Brewer: And so, like tanya said i'm gonna demonstrate how to make a eight page magnesium out of one sheet of linkletter paper.
Lauren Brewer: And these these things are really great intro to Z making, especially if one's audience really doesn't have any context or experience with scenes.
Lauren Brewer: i've done these mini xen making workshops with folks at the memphis.
Lauren Brewer: During classes as a part of my job and informally with my friends.
Lauren Brewer: And one of the reasons I you know I love this process is because it has such a low barrier to entry, all you really need is a piece of paper it doesn't even have to be blank paper you could do it with some line paper if that's all you have and.
Lauren Brewer: Some sort of a writing implement if you want to you know insert content into using.
Lauren Brewer: scissors do help, but there, they are not required so.
Lauren Brewer: it's a little awkward i've never done this virtually so i'm going to try to do it in a way that everyone can follow along so i'm taking this this sheet of paper and i'm going to fold it in half hot dog style, which is along the short edge of the paper.
Lauren Brewer: So I guess you can remember hot dog hot dog style because it's like Come on, like a hot dog.
Lauren Brewer: I like people use that that language, a lot and xen workshops, and so I had to like remember okay what's hot dog vs hamburger.
Lauren Brewer: But.
Lauren Brewer: Every time I do a phone i'm going to do my very best to match up the edges.
Lauren Brewer: and
Lauren Brewer: i'm also gonna to crease very well some folks will use a bone folder, but if you don't have one, then you can just make sure it's it's priest really well.
Lauren Brewer: And i'm also I think it's important to to say that when I when i'm doing this voting i'm trying to keep the folded part at the top.
Lauren Brewer: And the open part at the bottom.
Lauren Brewer: Okay, so now, if you have your your hot dog dog style folded sheet of paper.
Lauren Brewer: we're going to do it.
Lauren Brewer: hamburger style so along the long edge, this time.
I.
Lauren Brewer: have to put it down to actually crease the paper.
Lauren Brewer: So now we have that the first sheet of paper we folded it this way, and then we folded it.
Lauren Brewer: hamburgers style.
Lauren Brewer: Along the middle.
Lauren Brewer: And now we're going to do one more.
Lauren Brewer: hamburger style fold, and this will make it look, you know some lark to.
Lauren Brewer: amazing.
Lauren Brewer: And this is the thickest fold, so it can kind of be the hardest.
Lauren Brewer: To make sure that you get a really a really nice crease.
Lauren Brewer: So now, you should have something like I said that looks you know, similar to the shape and the size of a magazine, but you know when you actually open it up it's.
Lauren Brewer: Confusing you know where where would the the cover be what's page one, so unfold, the whole thing and.
Lauren Brewer: Now you can kind of you can see that we have.
Lauren Brewer: Our eight pages here or I i'll sometimes say six pages with a front and back cover.
Lauren Brewer: And now that you've gotten it all unfolded.
Lauren Brewer: we're going to fold it again, but instead of doing the hot dog style so fold that we started with we're going to fold it hamburger style and if.
Lauren Brewer: Nothing is is printed on your paper, then it doesn't really matter you know kind of which way that you fold at this stuff, so it is folded.
Lauren Brewer: I took my my folded paper and I folded it.
Lauren Brewer: hamburger style along.
Lauren Brewer: The long edge in half, and now this part is crucial so.
Lauren Brewer: you're gonna you're going to take either your scissors or since it's already priest, you can fold it, you can kind of you know, use your desk or as Kelly is.
Lauren Brewer: beautifully demonstrating, you can just rip it and what you want to do is cut or tear from the fold, not the open spot the side at the bottom from the fold and you want to cut down along the line to the middle.
Lauren Brewer: So now, when you're holding your paper you should have you know one side the open side is just normal and then the creased edge.
Lauren Brewer: Has this cut or tear, and this is a theme design tip, but if you tear or you know rip the.
Lauren Brewer: The slit then it gives it kind of like a pump flare so we're doing a professional scene with the with the cutting.
Lauren Brewer: Now i'm going to open everything back up again and you should have this kind of peekaboo slit right in the very middle.
Lauren Brewer: of your paper.
Lauren Brewer: And this part I I can't even really explain this in person, so you want to fold it in half.
Lauren Brewer: hot dog style, once again, where you have this kind of.
Lauren Brewer: flappy thing.
Lauren Brewer: and
Lauren Brewer: I always I always hold it with the fold up the top with where you cut or tour as well at the top open.
Lauren Brewer: At the bottom and I just kind of pinch these two sides together and hold them and.
Lauren Brewer: push it together.
Lauren Brewer: And then you'll end up with.
Lauren Brewer: This quarter.
Lauren Brewer: paper.
Lauren Brewer: where you can then fold at once more.
Lauren Brewer: and half wants more to get your.
Lauren Brewer: amazing unfolding it in this way.
Lauren Brewer: produces a lovely.
Lauren Brewer: Eight page booklet.
Lauren Brewer: I want to demonstrate that one more time.
Lauren Brewer: where you have your paper with the the cut in the middle and then you.
Lauren Brewer: fold it in half.
Lauren Brewer: And I wish I had a better way to describe this and just squish it together kind of make sure that these pieces like these, these I guess the crease line where where this starts comes together.
Lauren Brewer: i've also sent a link to our moderator.
Lauren Brewer: That was disseminated as well with the.
Lauren Brewer: Invite that's how to make this very thing with.
Lauren Brewer: Oh, my gosh i'm completely blanking on her name, even though I was like Oh, I remember.
Lauren Brewer: How to make this varies named by an Elizabeth Warren and it's a really awesome principle that tells you how to go through this process and it's available in a few different languages.
Lauren Brewer: which can be super useful and at this point if I was doing is zane class I would usually tell my students to write lightly and using a pencil on each page but i'll do it on.
Lauren Brewer: With a marker just for.
Lauren Brewer: Visibility sake but i'm labeling each of the page this says cover and i'm doing like 123456.
Lauren Brewer: And then back cover.
Lauren Brewer: This is helpful because it can be a lot easier, once you, you know unfolded you'll see kind of the layout of everything, and then you can put it down flat if you wanted to to add content to it, of course, you know you could.
Lauren Brewer: fold it and then add content, while it's folded as well um.
Lauren Brewer: You know, and as far as content goes it can really be anything you like.
Lauren Brewer: This could look like you know just using a black pen and writing in your folded theme.
Lauren Brewer: You can you know cut out images from old magazines for collage ng draw a comment cover the zane in stickers that you like, whatever you can think of.
Lauren Brewer: A big part of the culture is the.
Lauren Brewer: Republic reproduced disability and the distribution of themes that's why you know, we have seen fests and.
Lauren Brewer: there's a big kind of.
Lauren Brewer: overlap with like male culture and male art museums, because typically they are copied and and distributed in some way, so I think that's really important to keep in mind when you're when you're working on your scene, you know, do you have access to.
Lauren Brewer: A color printer or do you want to make it something that folks can print out and download and print out on their own that's kind of just you know some things to think about as you're adding content to your scene typically i'll just do you know black and white copies of mine.
Lauren Brewer: But.
Lauren Brewer: Of course, you know you don't have to to make copies if you don't want to.
Lauren Brewer: And, of course, you know this DEMO is in no way meant to be prescriptive.
Lauren Brewer: I think that's one of the wonderful things about the making right is that there are tons of different ways that that you can even make a scene like this, or.
Lauren Brewer: A larger a larger thing one of my favorites is to make as a half sizing where I just take a bunch of paper and folded in half, and this is big enough where you can add really as much content as you want.
Lauren Brewer: And there's also usually, at least in the layout no cutting or or tearing involved.
Lauren Brewer: And I think that you know the.
Lauren Brewer: easy to distribute the easy to create.
Lauren Brewer: Aspects of themes are why they are both you know.
Lauren Brewer: Somewhat accessible to be added to the library collections and also.
Lauren Brewer: somewhat difficult because there are issues of preservation and access.
Lauren Brewer: I wish I had you know amazing tips about how to add.
Lauren Brewer: A theme collection to your your library or your special collections, but it's really it depends on kind of what you imagine the the needs of the people that are going to be using the collection.
Lauren Brewer: I I love the idea of having you know, a circulating themed collection and then, if something you know.
Lauren Brewer: gets ruined or as loss, a part of a part of me, you know feels like that's that's what things are about their their ephemeral and they're.
Lauren Brewer: meant to kind of you know.
Lauren Brewer: end up wherever and it's and that's kind of a fun part of a theme culture, but then, of course, you know, we also have to think about preserving items and.
Lauren Brewer: How can we we manage preservation, with access as well.
Lauren Brewer: So basically, I have no answer to that question that tanya but that's.
Tanya Zanish-Belcher: Quite that's quite all right.
Lauren Brewer: other than to say that it's so hard, and it really is just a case by case basis and consideration of you know what do you want to do with these themes and what's what's the purpose of them, really.
Tanya Zanish-Belcher: Thank you so much lauren.
Tanya Zanish-Belcher: we're going to finish up with libby.
Tanya Zanish-Belcher: And libby.
Tanya Zanish-Belcher: What does creating scenes mean for historically marginalized groups, how are they used and what do they mean, and can you share some special scenes partnerships that you have worked on and how can archivists students and others collaborate on the creation of scenes.
Libby Coyner (she/they): Thank you so much.
Libby Coyner (she/they): tanya i'm gonna see if I can share my screen right now, and I think i've answered, I tried to answer this question.
Libby Coyner (she/they): No.
Libby Coyner (she/they): Okay well.
Libby Coyner (she/they): I re because these are all about storytelling i'm going to tell you stories and i'll try to keep it.
Libby Coyner (she/they): fairly short.
Kelly Wooten (she/her): I think we're still seeing like your zoom screen.
Libby Coyner (she/they): over years and.
Libby Coyner (she/they): they're here okay let's see.
Libby Coyner (she/they): Oh yeah.
Libby Coyner (she/they): that's good.
Tanya Zanish-Belcher: And I get it.
Libby Coyner (she/they): Okay cool all right.
Libby Coyner (she/they): hi my name is libby I am a Leo Leo rising libra moon I use she or they pronouns.
Libby Coyner (she/they): I do memory work for the call archives and teamwork else library hit you on university where i've worked for over four years and i'm super excited to be here with two amazing crushes.
Libby Coyner (she/they): lauren brewer and Kelly Luton as long as one of my mentors tanya's English belcher.
Libby Coyner (she/they): um I met tanya and Kelly five summers ago in berea Kentucky one really memorable week when I was playing for treatment for cancer, and we all hung out with Delta.
Libby Coyner (she/they): So it's always nice to spend time in community with y'all and I think I saw been on the call as well hi been at library Congress.
Libby Coyner (she/they): Li 2016 s cohort ever um so i'm going to give a little free genealogy.
Libby Coyner (she/they): including some embarrassing photo.
Libby Coyner (she/they): I think I may have shared the wrong screen.
Libby Coyner (she/they): you'll see that okay Oh, it took my life oh noes off there it is okay so for some context i'm a child of the Pacific Northwest in the 1980s and 1990s.
Libby Coyner (she/they): And after fleeing rural Idaho at age nine for portland Oregon I got my education, from what I believe are the younger your siblings of the riot girl.
Libby Coyner (she/they): portland during that time in the 2000s was such a space for their creativity and DIY culture it included everything from folks reclaiming publishing through means playing.
Libby Coyner (she/they): punk shows in their basements writing rock operas are hosting secret vegan cafes in the backyard.
Libby Coyner (she/they): And I learned about everything from fear and trans history to punk music from the.
Libby Coyner (she/they): frontline actively cultivated collective spaces that just the independent publishing resources Center where folks can print their own stuff and learn how to publish their own materials, there was a scene shop called reading frenzy.
Libby Coyner (she/they): Mostly, most of the book stores, including powells look healthy had a full inspection and small question.
Libby Coyner (she/they): I feel like these were everywhere, and it was kind of those years before smartphones before the Internet is what it is today, and being still circulated but they still certainly.
Libby Coyner (she/they): At the same time that I was.
When.
Libby Coyner (she/they): The same time that I was getting a clear punk education in the basement of northeast portland.
Libby Coyner (she/they): I finished my bachelor's degree in history at portland State University and I went on to study archives at university of British Columbia and a lot of the reason I did, that is because.
Libby Coyner (she/they): I didn't see my Community my queer Community reflected in archives and I had a lot of feelings about that, and they wanted to change that.
Libby Coyner (she/they): So another student at portland State University decided to start a rock and roll camp for girls as their senior capstone and so some of my first archival processing was actually arranging and describing the materials.
Libby Coyner (she/they): which were primarily beams of the rock and roll camp for girls.
Libby Coyner (she/they): In the old sewing factory in northeast portland and my friend winter bell was the director of the Rock camp at the time and paid me in drum lessons, so it felt really appropriately.
Libby Coyner (she/they): And I love that the girls rock camp ideas spread all over the country in the world and kelly's worked with the one that was organized in Durham girls rock and see, and I believe that Kelly also takes care of the number of themes from that rock solid thing.
Libby Coyner (she/they): One really important thing, I think, to acknowledge, is that, as a queer person my politics developed out of making Community with queer and trans folks in the early 2000s, in the wake of AIDS and HIV.
Libby Coyner (she/they): which were hardly over, but had been so devastating in the 1990s, so the generation just before mine had suffered such great loss.
Libby Coyner (she/they): That we had lost a lot of our elders who weren't able to pass some of the history on to us.
Libby Coyner (she/they): But also, there were so many activists were doing work work around AIDS and HIV prevention, treatment and care and we're distributing things about it.
Libby Coyner (she/they): And now kind of stepping into a role as this we're elder it feels important to pass this along to the next generations who will, who will take up this work after we're done.
Libby Coyner (she/they): So hopefully worked for i'd had Chancellor and here and margin gender expansive future because, after all, archives aren't just about thinking about the past they're also about writing a different future that we can work toward.
Libby Coyner (she/they): And when I came to Elon over four years ago I didn't necessarily see collections that reflected my we're putting off.
Libby Coyner (she/they): Nor, I did I see collections that represented, many of the queer and trans and non binary students who I support, so I asked my amazing boss crystal carpenter and RD and Joan rule well if I could start as being collection and they say yes.
Libby Coyner (she/they): So I just want to acknowledge that I am really, really grateful for the mentors like Kelly move net and Jennifer and.
Libby Coyner (she/they): pictured here who have done this work for so long and have done things like created busy Librarians code of ethics which you can see here it's also online.
Libby Coyner (she/they): which helps us think about how to use been collecting to pay artists, for their work and to make sure that we have their consent before putting things in our collections.
Libby Coyner (she/they): And we also don't digitize the instant put online, but are so grateful to the work of Milo Miller, as the years in archives project.
Libby Coyner (she/they): was put so much we're history in the form of themes and ephemera online i've used it to teach with to teach with routinely and done so much act up and AIDS and HIV activism work from there.
Libby Coyner (she/they): From this period that affirms here folks have always always known how to tell our stories, especially through.
Libby Coyner (she/they): Your publishing so this also gives me a chance to plug this event on November 3 for anyone who would like to continue to be in community with us around scenes.
Libby Coyner (she/they): And Kelly has really Kelly will be part of that once again i'm Kelly has graciously introduced me to my Lou Miller who's The co creator of the Thursday and archives project.
Libby Coyner (she/they): So i'm really excited to learn from my low meanwhile last year and I feel like this is a testament to the magic of us.
Libby Coyner (she/they): A deer student of mine somehow discovered a 1990s era mean by my focus on those are called TIM Tom which talks about the intersections of transgender and Jewish identities, so I asked my.
Libby Coyner (she/they): micah to present and they said yes and Milo said oh actually that scene really impacted me too and TIM Tom is also available on the fears in the archives project, so I feel like that just goes to show the magic.
Libby Coyner (she/they): And I just wanted to say that i've been i've been organizing some teachings with my dear collaborator lauren Gill met in the philosophy department.
Libby Coyner (she/they): And we've been having fun this term in terms of she's teaching, a senior some class on philosophy of archives and we're really embedding means.
Libby Coyner (she/they): And and thinking about archives, as a community of practice in general into that class and it's been it's been really amazing and I we've also embedded a lot of.
Libby Coyner (she/they): scene work into Lawrence wgs gfs classes, because the topics of things often fits so well with wh fs material.
Libby Coyner (she/they): We also go serve on our wgs so forth.
Libby Coyner (she/they): So it's it's just been a really great way to kind of collaborate across the university.
Libby Coyner (she/they): that's a picture of lauren who's a fan of archives at the feminist theory archives.
Libby Coyner (she/they): And we're also in community with some really amazing other memory workers.
Libby Coyner (she/they): And I just wanted to mention our friend amanda Bennett, who is a Duke university literature PhD candidate who does really amazing work around envisioning black where futures and she especially is this fragments from archives, like the lead in her story archives, to tell stories.
Libby Coyner (she/they): And amanda did this incredible it was actually a collective project by her class on a toni morrison fast and they did a vm to leave as a deposit from.
Libby Coyner (she/they): From their time in that class together and that one is online as well, and I think that's a really interesting example of you know scenes originated Kelly talks about scenes originating from.
Libby Coyner (she/they): From great culture, but I think that it goes to show that we're they're still thriving.
Libby Coyner (she/they): In an online format.
Libby Coyner (she/they): um I wanted to say i've worked to create a really radical southern collection and I purchased the Lead is this means i've seen festivals in.
Libby Coyner (she/they): Both or i'm in greensboro it's been so amazing to take students to those festivals, that they can meet other creative have been helped me build the collections and get inspiration to make their own scenes.
Libby Coyner (she/they): We were really taken by the unc Chapel hill seeing club and got a number of really awesome things from them, and both Kelly and lauren are often there are scenes as well.
Libby Coyner (she/they): Is there a few scenes we got from activists who have done work around removing silent silent Sam statue from the unc Chapel hill campus and provide really important accounts that I can share with students.
Libby Coyner (she/they): As examples as they learn about activists traditions, as well as models for how to reclaim their narrative.
Libby Coyner (she/they): beings have also remain part of our creative toolkit during pandemic as the land does not.
Libby Coyner (she/they): documenting the bizarre world or experiencing as a way of staying connected across distance and to write two features, so one wacky thing that happened is that I got married a month before the pandemic lockdown started my partnership or deny a little to a jailhouse in asheville.
Libby Coyner (she/they): And so we wrote the theme, to tell people that we got married and to introduce each other to our families and friends.
Libby Coyner (she/they): And I also wrote this others in called well ship bags and often these mean that when it's about having cancer and now living with us for a minute asked me just to educate people about my.
Libby Coyner (she/they): My illness and what foods, I can and can't.
Libby Coyner (she/they): And one thing I wanted to mention is my partner grew up in Arizona, where we met and I learned that.
Libby Coyner (she/they): When they were in high school, they were also getting these amazing like Navajo and native means in the 1990s.
Libby Coyner (she/they): So it was awesome to find that we have this shared history and the day we got married we went to our favorite on our store in asheville and bought a few of these means add to our collection.
Libby Coyner (she/they): And these are some scenes about my chat.
Libby Coyner (she/they): Because just to emphasize that you can write about a scene about anything, the major arcana features my cat this they were in the Taro, and this is one that I wrote during pandemic called body by or IDA, and this is my cat are low.
Libby Coyner (she/they): modeling that.
Libby Coyner (she/they): Most recently, I worked with on our with elan's maker have to provide grabbing dosing kits for our students.
Libby Coyner (she/they): Because they're so simple, and so a lot of it is just to show how easy it is to make and teach them, the process of making them one page magazine.
Libby Coyner (she/they): And I have one wonderful student who works in both xen library and the maker hub, so we got a chance to spread things out all over the maker hub and students could work on their own.
Libby Coyner (she/they): And we spent time talking about radical in tradition so busy in collection I think has been released a haven for queer and trans students.
Libby Coyner (she/they): Not just because they see themselves represented in those collections, but also because they come to work with me in the archives and help me catalog the materials.
Libby Coyner (she/they): The collection really reflects them and they're able to read those materials, through their lens.
Libby Coyner (she/they): and apply the appropriate descriptive information in the database and it gives us a chance to share that history across generations kind of continuing the magic of being I know that seems aren't necessarily for everyone.
Libby Coyner (she/they): But like flagging I find that they're a really great method for we're signaling in a space that doesn't always feel terribly queer affirming.
Libby Coyner (she/they): that's why I was excited when my partner and I got this scene on flagging for personal collection recently.
Libby Coyner (she/they): And I just wanted to say is I found such we're chosen Community at you on I count so many among my mentors and heroes for doing this your work on that campus to make it.
Libby Coyner (she/they): more space for all of us and i'm especially grateful for this continue to educate me collaborate with Nice and students my way and think about archives as a communal.
Thanks so much.
Tanya Zanish-Belcher: Thank you libby I love that idea of archives is a communal practice.
Tanya Zanish-Belcher: To our audience.
Tanya Zanish-Belcher: If you have questions that.
Tanya Zanish-Belcher: You would like the panelists to answer please submit them in the Q amp a and I think the chat is also open to.
Tanya Zanish-Belcher: We have a question of our scenes always made basically kind of like how you made it lauren I don't think they are, I think there's a lot of flexibility and how scenes are created they're not always just one way correct.
Tanya Zanish-Belcher: lauren.
Tanya Zanish-Belcher: yeah sorry.
Lauren Brewer: No it's fine yeah definitely.
Lauren Brewer: So this.
Lauren Brewer: like this one is eight pages or six with a front and the back cover and because of the kind of I don't know the intricacy of folding it in this way, it would, it would have to be.
Lauren Brewer: That way, but like Kelly said any multiple of four.
Lauren Brewer: Because one can you know, like, I was giving the example of doing a half a half sizing which is half of a letter sheet folded in half, and this would create four pages.
Lauren Brewer: or.
Lauren Brewer: Two with a front and a back cover and then you can add more pages and so it's really can be.
Lauren Brewer: As many or as few as he was and.
Tanya Zanish-Belcher: As Kelly noted the evolution of a race right scene is over 90 pages.
Tanya Zanish-Belcher: Other questions.
Tanya Zanish-Belcher: So abby asked if there are any other scene resources that you all might recommend that i've not been mentioned other than the links, I think that that were posted.
Kelly Wooten (she/her): I really recommend.
Kelly Wooten (she/her): poking around in you know just.
Kelly Wooten (she/her): there's a lot of great xen distributors like brown recluse and people of color is in projects that have a really broad representation of busines and I learned housing by collecting them, which is can be expensive expensive but.
Kelly Wooten (she/her): Also, you know in their teens themselves aren't that expensive save can kind of put together a pretty great little stuff for under 20 bucks if you're.
Kelly Wooten (she/her): interested in learning more about them and my favorite same resource honestly and maybe it's so much we'll use the same libraries dot info that I put into the.
Kelly Wooten (she/her): chat it says the Librarians information clearing house, which you know Librarians leftover share too much information but there's tons of how tos and DIY is and I always learn things from other people who were doing doing things differently than I would have imagined so.
Kelly Wooten (she/her): yeah the libraries is my go to and then.
Kelly Wooten (she/her): there's so many.
Kelly Wooten (she/her): places online that that have how to lose.
Kelly Wooten (she/her): Access to different things about different topics.
Tanya Zanish-Belcher: But we have another question that just came in and they they would like to know if the panelists are aware of any other discussions around digitizing scenes.
Tanya Zanish-Belcher: By projects or institutions there are local collections that we'd like to preserve, while respecting the materials that they hold.
Libby Coyner (she/they): Well, I can I can just say a little bit and with a huge nod to Kelly and.
Libby Coyner (she/they): All the busy Librarians who have done the work, one thing is I love where's the an archive project, and I use it all the time, and I really appreciate all of the Labor that my load person she's putting.
Libby Coyner (she/they): Putting that together, including getting consent from folks to put their materials online.
Libby Coyner (she/they): A lot of times.
Libby Coyner (she/they): You know you can't necessarily go back retroactively and get that consent and it's really important especially.
Libby Coyner (she/they): For the stuff that was created pre Internet, I think that folks wouldn't know what what kind of world was going to be around in a digital age, and so they didn't necessarily intend that to be put out there for everyone to see.
Libby Coyner (she/they): And I think also themes are often used to tell kind of vulnerable stories and they're not necessarily hours to put out.
Libby Coyner (she/they): To put out to everyone on Kelly, and I hope i'm not putting you on the spot that like I recently open kelly's amazing newsletter that I super love getting.
Libby Coyner (she/they): Every time, but like kelly's been so generous to be like this is not for libraries, archives, this is, for your personal use and i'm like awesome everything should have that that know about consent or or not consent on it.
Kelly Wooten (she/her): And I have to credit jenna free minute Barnard for being the one who's always like put a date on your xen put your place of publication on your xen say whether or not it's a way for people to reuse.
Kelly Wooten (she/her): Some of my other public little many things are like whatever do whatever you want just don't solve them.
Kelly Wooten (she/her): yeah I, I agree with libby the shoes APP is like the gold standard for digitization of scenes and the the Librarians code of ethics which living mentioned has a section on digitization and who knows when it will come out but there we are we meeting other people not me working on a.
Kelly Wooten (she/her): A new code of ethics focused specifically on dissociation and issues like that and it's very creator centered, which is so wonderful that.
Kelly Wooten (she/her): scene, the scene community is really focused on making sure that the creators get.
Kelly Wooten (she/her): paid for their work, credit for their work and get intellectual control over their work, so if they don't indicate in this view what's okay to do with it then it's.
Kelly Wooten (she/her): Important to contact that person and get permission before doing things on.
Tanya Zanish-Belcher: I think we've run a little bit over, but this has been really enjoyable and I always love learning about scenes always always I hope you all enjoyed this we appreciate your coming.
Tanya Zanish-Belcher: If you have any ideas for special collections programming we're always looking for projects and ideas, so I shared our email in the chat and I would like to especially thank lauren Kelly and libby for sharing their experiences and their stories today we really appreciate it.
Tanya Zanish-Belcher: And if you want to answer stephanie's questions you pay she wants to know your favorite scenes will close up with your favorite scenes.
Lauren Brewer: My favorite thing is this one I got Richmond been fast it's like all these folks wrote about what they love about the fast food restaurant taco bell and it's just like beautifully beautifully done.
Kelly Wooten (she/her): minds always like the.
Kelly Wooten (she/her): last one I read.
Kelly Wooten (she/her): So if you don't have a good answer.
Libby Coyner (she/they): I have to say my very favorite scene, then I still I still kind of us all the time in teaching, which is funny but it's my friends sarah's weddings union and.
Libby Coyner (she/they): My friend Sarah and Dan got married a couple of years ago and they wanted to teach their friends about different Jewish traditions, they were practicing and when I and.
Libby Coyner (she/they): And it was so beautiful and it just she and I helped organize the rock and whole camp for girls in unison together, and so I I just love that she chose to invite people into her wedding with this event, which is so appropriate.
Tanya Zanish-Belcher: Thank you all for sharing that to everybody, have a good day.
Tanya Zanish-Belcher: And thanks for coming.
Libby Coyner (she/they): Thanks tanya and lauren thanks ellie and Rebecca.
Thank you.