“We Are/We Have Always Been”: A Multi-Linear History of LGBT Experiences at Bryn Mawr College, 1970-2000

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Early days of the May Hole celebration (1980s) courtesy of Deb Rowan, Class of 1990.

Early days of the May Hole celebration on May Day. Photograph courtesy of Deb Rowan, Class of 1990.

Over the summer, Tri-Co Digital Humanities Initiative intern Brenna Levitin (Class of 2016) began new research into histories of LGBT individuals and communities on campus. What started as a simple question — do materials exist in the Bryn Mawr College Archives to document LGBT life? — led us to new donations from alumnae/i and a rethinking of our digital tools.

We’re pleased to announce that Brenna’s project is now online, accessible through the Greenfield Digital Center’s website:

“We Are/We Have Always Been”: A Multi-Linear History of LGBT Experiences at Bryn Mawr College, 1970-2000

We Are/We Have Always Been” uses college newspapers, ephemera, photographs, oral histories, and informal interviews to show pieces of a fragmented history that continues to develop in the present day. In doing so, it highlights the multi-linear nature of the narratives that make up personal and institutional memory.

Brenna Levitin '16 asks, how do we study lesser-known aspects of Bryn Mawr student life?

Brenna Levitin, Class of 2016.

Brenna’s project departs from the form of past exhibits published by the Greenfield Digital Center in that it is built on a platform called Scalar, rather than Omeka. With its flexible approach to narrative, Scalar allowed Brenna to situate parts of the story within and beside one another, in addition to traditional sequential relationships. Brenna’s documentation of this work, including her summer blog posts, lives on as a broader reflection on process; Greenfield Digital Center Assistant Director Evan McGonagill also considered how we might begin to think about the “T” in LGBT histories, particularly in the women’s college context.

We also encourage readers to visit “History of Gender Identity and Expression at Bryn Mawr College,” created by Pensby Center summer intern Emmett Binkowski (Class of 2016) to recognize Mawrters with diverse gender identities. Along with the digital exhibit “A Point of Difference” — recently completed by Alexis De La Rosa (Class of 2015) and Lauren Footman (Class of 2014) to document histories of students and staff of color — these projects reflect the Greenfield Digital Center’s commitment to research that tackles the diverse and challenging histories of Bryn Mawr College and its many communities.

Brenna will return to the Greenfield Digital Center in Spring 2015 through Bryn Mawr’s Praxis program, which will provide an opportunity for her to continue pursuing oral history interviews with alumnae/i and community members.

Comments? Questions? We welcome your thoughts below, or via email to greenfieldhwe@brynmawr.edu.

Hidden Libraries, Hidden Histories: The Story of the BGALA Library

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Since May, Brenna Levitin, the Greenfield Digital Center’s TriCo DH summer intern, has been hard at work tracking down the histories of LGBT individuals and communities at Bryn Mawr between 1970-2000. To catch up with her work, read Brenna’s thoughts on one of her first finds, her consideration of silence in the archives, and her approaches to using digital tools to address the silence, including reflections on making the Digital Center’s first Scalar project. We look forward to launching Brenna’s project, We Are/We Have Always Been, next week–stay tuned!

BrennaLevitin

Brenna Levitin, Class of 2016

Let’s hear it for victories! Although much of the past four months has been spent sighing over a lack of LGBT archival material, I recently had a great realization which partially solved the mystery of the disappearance of Bryn Mawr’s BGALA Center Library. I first heard about this mystery from Robin Bernstein, Class of 1991, the creator of the library and its first keeper. She told me about how she painstakingly shaped it over three years, only to have it disappear a few years after she graduated. She mourned the multi-hundred-volume library for years, until, to our excitement, I physically ran into the collection in Canaday Library a few weeks ago! Here’s a short retelling of the library’s saga.

In her sophomore year, Robin Bernstein asked the Bryn Mawr Women’s Center to use their empty back room as a physical space for BGALA (The Bryn Mawr-Haverford Bisexual, Gay, and Lesbian Alliance). After the students in charge agreed, Bernstein began to create a physical space for the club within the Women’s Center, located on the upper floor of the Campus Center. To fund decoration and set-up of the space, Bernstein wrote a grant and received $1,000, in addition to the money BGALA received from general SGA budgeting. She took approximately $1,500 to the Owl Bookshop on campus and to Giovanni’s Room–the famous bookstore in the Philly Gayborhood–and bought as many books as possible. After carting everything back to campus, BGALA members rubber-stamped everything “The Bryn Mawr/Haverford Bisexual, Gay, and Lesbian Alliance.”

BGALA Library stamp, found in Lesbian Plays (New York: Methuen, 1987-1989), Canaday PR 1259.L47 L4 1987 v.2.

BGALA Library stamp, as seen in Lesbian Plays (New York: Methuen, 1987-1989), Canaday Library Rainbow Alliance & Women’s Center Collection, PR 1259.L47 L4 1987 v.2.

Bernstein lovingly curated the library for the next three years, watching as it grew with each year’s funds. By the end of her senior year, the library contained over 1,000 books, audiotapes, and magazines. The summer after Bernstein’s graduation in 1991, the books were removed from the BGALA Center and relocated to a room in the Denbigh dormitory. Previously, the BGALA library was unstaffed, functioned on the honor system, and was heavily used. After their move, no one knew where to find the books, and so they saw less use as the years went on.

After approximately 1993, institutional memory fails to recall where the books lived. In fact, Bernstein and I believed the books to still be missing when I found them, by chance, living in Canaday Library as an official collection. By working backwards and talking to library staff, I was able to piece together part of their journey post-Denbigh.

Layers of library history, as seen in Anthony Burgess,The Wanting Seed (New York: Ballantine Books, 1964), Canaday Library Rainbow Alliance & Women’s Center Collection, PR 6052.U638.

Layers of library history, as seen in Anthony Burgess, The Wanting Seed (New York: Ballantine Books, 1964), Canaday Library Rainbow Alliance & Women’s Center Collection, PR 6052.U638.

The next time that anyone saw the BGALA books was in 2003, when members of the Rainbow Alliance came to then-Coordinator for Information Acquisition and Delivery, Berry Chamness, in Canaday to ask for help. The Rainbow Alliance (the new name for BGALA) was losing the space where they stored the library, and wondered what to do to save the books and keep them accessible. Since Fall 2004, what is now known as the Rainbow Alliance/Women’s Center Collection has lived as a discreet collection in Canaday Library, and can be found on the shelf closest to Quita’s Corner by the back window on the first floor.

Library 1

Library 2

The Rainbow Alliance & Women’s Center Collection is now catalogued in TriPod and shelved on the first floor of Canaday.

I’ve put together the history above from personal accounts and some library sleuthing, but there are still pieces missing from the puzzle. What happened to the books between 1992 and 2003? Were BiCo students aware of the books as a resource, and who was responsible for them? If you have a piece to add to the puzzle, please email greenfieldhwe@brynmawr.edu or comment below! I’d also love to hear from anyone who remembers the library in any of its incarnations.

Interested in the Rainbow Alliance/Women’s Center Collection holdings? We’ll be sharing our favorite books on the Greenfield Digital Center tumblr this fall!

Looking Back, Thinking Ahead: The Greenfield Digital Center Summer Recap

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Summer already feels long behind us, as recently returned Mawrters and their professors get back into the swing of things and the weather cools. Now that everyone is settling in for the new semester, it’s an ideal time to catch up on what you missed over the past season of activity at The Albert M. Greenfield Digital Center! We had an eventful summer, both finishing old projects and pushing forward on new ones, and, of course, we welcomed our new Director to campus. Here’s a recap of what we’ve been up to and a preview of some things we’ll be sharing soon:

MonicaMercadoOfficial

  • Monica Mercado arrived in July and immediately hit the ground running. Already she has been through new faculty orientation, CLIR training, an ArcGIS workshop, and more—and somehow found time to return to the University of Chicago to graduate with her PhD in August.
  • The 2013 Pensby Center interns, Alexis De La Rosa ’15 and Lauren Footman ’14, put the finishing touches on their digital exhibit exploring the experiences of students and staff of color on campus. In addition to Lauren andAlexis De La Rosa and Lauren Footman Alexis’s research documenting a history of diversity at Bryn Mawr, results from Alexis’s survey to alumnae about their experiences, and original photography of students and spaces on campus, the exhibit includes a series of new oral history interviews that tell the stories of faculty, staff, and students who were impacted by issues of race and class during their time at Bryn Mawr. The digital project A Point of Difference was released in July and can be viewed hereContinue reading

Scalar: A Digital Take on Physical Space

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This piece originally appeared on the blog of the Tri-Co Digital Humanities Initiative, who have sponsored Brenna Levitin (BMC ’16) as our intern this summer. In addition to the two posts she has published on the Tri-Co DH site, Brenna has published regular updates on this blog. To catch up with her summer work, read her thoughts on a find in the 1989 Alumnae Bulletin, her consideration of silence in the archives, and her approach to using digital tools to address the silence.

Mapping Scalar paths in post-its

Using post-its to map Scalar paths

When I last wrote, I optimistically assumed that July would be for oral histories and August would be for creating the exhibit. In reality, oral history work has bled over into August, and I’ve actually been building the exhibit since mid-July. I also described the analog/digital split in my project, which has evolved; as August has worn on, I’ve simultaneously handled our first donations of alumnae/i materials (flyers, photos, etc) while drafting the actual pages of the exhibit.

As the first Scalar project undertaken at Bryn Mawr Special Collections, I am conscious of my duty to document the process. Scalar has offered me enormous freedom to design the exhibit in any multi- or non-linear way that I wish. That freedom is not without a price, however; non-linear documentation means that pages can fall through the cracks; technically contained within the exhibit but unlikely to fall within the viewer’s path. Recently, I struggled to decide how to organize the exhibit in a way that would not imply that this history is complete while still showcasing every possible morsel of information that I gathered. Continue reading

LGB(T): the problem of gender identity in a historical narrative

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Last week a comment by G Ragovin on Brenna Levitin’s most recent blog post raised a crucial point, which I believe warrants a response and a call for further thought:

Really really hoping that this winds up being LGB and T, rather than LGb. I’m aware that sometimes discussing trans or gender non-conforming folks adds whole new dimensions to work that genuinely are beyond the expertise or time that a researcher has available, but also that the history of gender non-conforming folks and LGB folks is deeply intertwined, difficult to pull apart because of the ways identity categories have shifted.

G’s comment reminded me of a couple of aspects of this project that we have not yet addressed on the blog, including how we are grappling with the slippery nature of identity categories over time, and how we plan to represent gender non-conforming subjects in the final product(s). Studying avenues of gender- and sexual deviance in relation to a changing mainstream always poses dilemmas when performing research on historical queer subjects: to excavate stories from the past for a contemporary audience sometimes involves acts of translation that suggest false equivalencies and elide important aspects of historical context. Past lgbt-flagprojects have taught me the difficulty of researching queer subjects in the nineteenth century,1 a challenge that G alludes to: “you can ask (and this may not be a useful question for gaining insight into past lives, but you can ask) would some 19th and early 20th c. inverts take to the terminology of the contemporary trans community, if they knew of it?”

Any researcher will be confronted with various dimensions of cultural change that make it difficult to draw clean lines between eras when working on queer subjects in the past. These include, among others:

  • Evolving vocabularies for describing identity categories
  • Shifting politics of identity categories, such as harsher or relaxed stigmas
  • Changes in the practices that would mark one as a sexual/gender deviant
  • Differences in how people document their sexual and gendered identities in ways that are readable to the future.

As G alludes to in their comment, the inclusive term “LGBT(Q)” tends to be applied very broadly despite the fact that trans* people tend to receive secondary recognition and that their perspectives are often markedly different from cisgender non-heterosexual individuals. In her work on this project for Tri-Co DH, Brenna is striving to incorporate voices beyond Lesbian, Gay, and Bisexual, but G was right to suggest that this aspect of the project presents an extra challenge.2 Though less obscure to us than those of the 19th century, even queer histories from the last few decades often resist direct mapping to present-day vocabularies.

transgender-umbrella


Transgender Umbrella page from the GENDER book. (cc) www.thegenderbook.com

In our first oral history interview, we asked our interviewee to comment on recognition of LGBT subjects in the College’s academic course material. He prefaced his response by remarking that “the B[isexual] and T[ransgender] dimensions did not figure, in ’89.” He acknowledged that there were transgender students as well as faculty members on campus at the time, but we have not yet been able to make contact with them in order to establish details or accounts of their perspectives. We have managed to be in touch with multiple transmen who identified as lesbians when they attended Bryn Mawr, and at least one is participating in the project. To what extent do their accounts represent a trans* student experience at Bryn Mawr? Certainly their experiences must be treated as valid and authentic, and yet they will never be able to furnish us with a sense of what it would have been like to navigate the social and academic waters of Bryn Mawr as an out member of a trans* community—nor should they be lumped in with a more generalized lesbian experience, even though they were active participants in lesbian and bisexual communities.

We’re interested in representing a variety of individual experiences without tokenism; a mentality of trying to check all the boxes should not be, and is not, our guiding strategy.   Yet it remains a challenge to balance the responsibility of inclusion with an awareness of the complexity of identity and the shortcomings of the vocabularies that we use to describe them. While questions remain about how to frame the contributions of our participants, we will continue to grapple with creating space for authentic T[ransender] voices in this work while leaving room for fluidity both in cultural and personal histories.

Footnotes

1A classic example of this problem from Bryn Mawr history is the personal life of the school’s second president, M. Carey Thomas. It is well known that she spent most of her life with female companions with whom she was emotionally intimate. However, no source provides perfect clarity on the exact extent of her physical intimacy with either Mamie Gwinn or Mary Garrett, her two long-term partners. Thomas lived in an era in which the convention of the Boston marriage made formalized romantic friendships between women socially acceptable, but such partnerships obviously existed in a different social context from current-day same-sex relationships. Because of her reputation as a staunch feminist and a forward thinker across many fronts, it can be tempting to view Thomas’s associations with Gwinn and Garrett as proto-lesbian relationships. However, to do so is problematic both because it insinuates details of physical intimacy that the historical record cannot confirm or deny, but also because it privileges sexual activity as a marker of legitimacy.

2For excellent recent work on the gender and gender non-conforming individuals at the College, see 2014 Pensby intern Emmett Binkowski’s project History of Gender Identity and Expression at Bryn Mawr College

Silence in the Archives, Part II: New Paths

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For Brenna’s previous reflections on this topic, see Silence in the Archives, Part I: Inviting Inquiry.

Brenna Levitin '16 asks, how do we study lesser-known aspects of Bryn Mawr student life?

Brenna Levitin ’16 in the College Archives. How do we study lesser-known aspects of Bryn Mawr student life?

Since my unconference session at PhillyDH@Penn, I’ve spent many hours mulling over ways to represent a project which each day becomes more complex. Because of the silence of our archives on the topic of LGBT life at Bryn Mawr, my project now relies heavily on personal accounts, discovered both through oral histories and informational interviews with alumnae/i and members of the faculty and administration.

Oral accounts are notoriously tricky: often narrators mix up names or dates, and personal narratives color everything. It’s the job of the historian (or historian-in-training) to interpret the narrator’s stories and to position them within both the overall narrative and the narrative of their life. It’s important to think critically about what might have shaped a person’s narrative so that we as historians do not naively accept everything we are told: we may hear two accounts which are factually divergent but represent equally valid experiences.

As I slid down the archival silence rabbit hole, it became clear that Omeka, the technology which The Greenfield Digital Center typically uses to create digital exhibits, would not be able to contain a decentralized, testimony-based project such as this one. My supervisor, a more experienced digital humanist than I, suggested an alternate program: Scalar.

scalarlogoFor those unfamiliar, Scalar is an open-source, online tool which allows scholars to build non-linear or multi-linear multimedia “books.” So far, Scalar appears to be a better tool for this project because it can showcase oral histories alongside blocks of text and images. I am especially enchanted by Scalar because it allows items to annotate or comment on other items, a great way to represent many, divergent stories, and because it allows multiple paths. As I build the exhibit, I’ll be able to specify not only an overall, linear path, but also a path which contains major events held by LGBT student groups or one with all of the reported instances of homophobia.

This multi-linear capacity means that not only are we not tied to one narrative, something which history struggles to accommodate at the best of times, but we are also free to portray the richness and diversity of the LGBT experience at Bryn Mawr. Some people loved college life, others didn’t; some were head of the Rainbow Alliance while others stuck to their tight-knit foursome. Every time that I send an email to a community member to request an interview, I include the fact that I’m not just looking for one universal, positive, “gay Bryn Mawr” experience. It’s important to me to amplify the voices of all; for without those voices, our tenuous connection to our history as an LGBT institution would fray irreparably.

Silence in the Archives, Part I: Inviting Inquiry

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When the Digital Center’s TriCoDH summer intern Brenna Levitin ’16 last wrote about her project, she was in the early stages of researching Bryn Mawr’s LGBT history. Recently, Brenna’s focus has shifted to methods for acknowledging silence in the archives, and she is now looking at ways to use her final exhibition project to represent—not fill—that silence.

I’ve begun this blog post four times, each hoping that this iteration will be the one that gels—the one that sums up archival silence in just the right way. I’ve realized, however, that perhaps the problem is the subject matter itself. Archival silence is not an easy topic: each interaction illuminates a single page of history and three blank books. Perhaps that’s why this blog post has been hard to write; after all, writing about what does not exist is difficult and an overwhelmingly foreign task to a fledgling historian.

Historians are intimately familiar with silence; one of the first things which my historian major advisor reminded me to think about for this project was silence. Anyone who attempts to write from physical archives knows the weight of the silence contained within; anyone using oral histories acknowledges the silence from those who did not, would not, or could not volunteer.

My project uses what little the physical archives contains alongside oral histories, cross-referencing the two in an attempt to provide the fullest picture of Bryn Mawr’s LGBT history possible. Even if I am able to confirm the veracity of the information, I still need a way of representing the silence. A truly complete image of history will never be reached for any subject, especially not for any study of minorities. Archives are writ by the victors, not the marginalized sexual minorities.

PhillyDH@Penn via Technical.ly Philly

PhillyDH@Penn via Technical.ly Philly

Last month, I explored this topic in an unconference session at PhillyDH@Penn. An animated group discussed visualizing archival silence and its inherent problems. We discussed how to make silence not just noticeable, but enticing; in a physical museum if viewers are invited to uncover something, they are often more likely to look at it. Moreover, the physicality of uncovering actively involves them in the process. They don’t simply gaze passively at a blank space, wonder about it for a moment, and move on; instead they boldly take action, resulting in questioning their assumptions about history as a process and about the preservation of minority culture.

This method of inviting an action or inquiry of an empty or blank space also queers the act of disseminating history. By doing so, not only do we move away from static installations built of text and images; we provoke critical thought about the historical process. Readers are thus encouraged to think as historians, to critically consider the landscape of history as subjective and fluid. As we elucidate the history of queer experiences at Bryn Mawr, my hope is that we also illuminate the historical process. To me, digital humanities is all about making academia accessible. To illustrate archival gaps by revealing the silences and amplifying the voices of queer community members is a worthy goal.

Next week, Brenna’s post will discuss the search for a technology to help document her findings and visualize silence.