Collections

The Leo and Mary Sarkisian Collection consists of recordings of the Music Time in Africa radio program (1966-2021), the contents of the Leo Sarkisian VOA Music Library, and related contextual documents and artifacts, including the personal papers of its creator Leo Sarkisian and his wife Mary Sarkisian. The bulk of the collection is source material for the production and broadcast of Music Time in Africa, including copies of the radio broadcasts and scripts, recordings of African music compiled for use in the show, and original field recordings made by Leo Sarkisian between approximately 1959 and 1975. Other recordings include commercially produced content in LP, 45 rpm and cassette tape formats. The collection documents the public diplomacy exercised by the United States through Voice of America programming in Africa and the wide variety of musical styles of newly independent African nations.

The Leo and Mary Sarkisian collection (220 linear feet) consists of recordings of the Voice of America's Music Time in Africa radio program (1965–2021), the contents of the Leo Sarkisian VOA Music Library, and related contextual documents, personal papers, artifacts, and musical instruments. The University of Michigan Library established the Leo and Mary Sarkisian Collection in 2018 by consolidating previous gifts and donations from the Sarkisians, long-term loans of archival materials from the Voice of America, and digital reproductions created by the University of Michigan. In 2004, Leo Sarkisian formally donated musical instruments from his personal collection to the Stearns Collection of Musical Instruments. He followed up in 2012 and 2015 with donations of personal papers and artifacts collected during travels in Africa, documented by a signed deed of gift. In 2008, the University of Michigan negotiated a Memo of Understanding with the Voice of America to digitize and make available for teaching and research 360 rare and unique audio recordings made by Leo Sarkisian in sub-Saharan Africa. In 2015, the Voice of America transferred the entire contents of the Leo Sarkisian Music Library to the University of Michigan for purposes of research and teaching. An extended Memo of Understanding between UM and VOA governs the archival processing of the loaned materials as well as permissions to digitize materials and make them available for teaching and research.

The bulk of the collection is source material for the production and broadcast of Music Time in Africa, including copies of the radio broadcasts and scripts, recordings of African music compiled for use in the show. Because Sarkisian had no mandate from VOA to create and retain an archival copy of every broadcast show, the completeness of the surviving MTIA radio shows varies. The most complete representation includes the audio recording of the full broadcast and the full script. Some instances of the show include only the musical inserts (without the host's voice) and the script. A number of complete show audio recordings lack associated scripts. Some individual scripts are not matched with surviving radio show recordings.

Among the VOA Music Library materials are recordings from Sarkisian's prior work with Tempo records, where he trained as a recording engineer. This small group of materials dates back as early as 1949, when Sarkisian began traveling in Asia (Afghanistan, Pakistan, and Bangladesh) making field recordings for the Hollywood-based label. In 1958, Irving "Colonel" Fogel, the president of Tempo sent Sarkisian to Ghana, where he made over 100 recordings and donated the tapes to Radio Ghana. He and Mary established a Tempo office in Conakry, Guinea. There in 1962, Leo met Edward R. Murrow, who was then head of the United States Information Agency. Murrow invited Sarkisian to join the Voice of America (VOA) as Music Director of VOA's Africa Program Center in Monrovia, Liberia.

Leo and Mary traveled extensively to make field recordings and launch a new radio show focused on traditional African music. Leo recounted that the Music Time in Africa radio show first broadcast in May1965; the earliest recorded broadcast of MTIA in the collection is from May 22, 1966. The geographical coverage of the collection includes 46 African countries, the US, and other locations where Sarkisian worked. The African countries represented in the collection are: Algeria, Angola, Benin, Botswana, Burkina Faso, Burundi, Cameroon, Cape Verde, Central African Republic, Chad, Comoros, Congo, Côte d'Ivoire, Democratic, Republic of the Congo, Egypt, Equatorial Guinea, Ethiopia, Gabon, Guinea-Bissau, Kenya, Lesotho, Liberia, Libya, Madagascar, Malawi, Mali, Mauritania, Morocco, Mozambique, Niger, Nigeria, Rwanda, Senegal, Seychelles, Sierra Leone, Somalia, South Africa, Sudan, Swaziland, Tanzania, The Gambia, Togo, Tunisia, Uganda, United States, Zambia, and Zimbabwe.

The collection contains evidence of Sarkisian's work through VOA's Program Center in Monrovia, Liberia, to train recording technicians and program directors at radio stations in several African countries. Notable among these were Radio Tanzania, Radio Comores, Radiodiffusion Nationale Tchadienne (Chad), Radio Dahomey, Radio Rurale (Burkina Faso), Radio Burundi, and Radio Douala (Cameroon). The VOA Music Library Tape Recordings series includes tapes sent to the VOA from these stations.

The collection documents the production of Music Time in Africa as a pre-recorded analog program. Leo Sarkisian worked primarily with quarter-inch open reel magnetic audio tape. He assembled the musical selections for each Music Time in Africa program, and composed and typed the scripts for the host to read, almost verbatim. A recording engineer interspersed the musical selections on cue and simultaneously created a full recording of the 30-minute show. The show typically followed a format that book-ended field recordings of traditional music with several commercially recorded popular songs. Traditional musical content was drawn from Leo's field recordings and other sources.

The show's theme music was composed and performed by Geraldo Pino and the Heartbeats of Sierra Leone from an original recording that Leo made of the band. The shows are remarkable for the breadth of genres represented in the programming selections and the geographical coverage of the collection. Sarkisian collaborated with composers and scholars including J.H. Kwabena Nkeita, Duro Ladipo, Bai T. Moore, and representatives of the radio stations where he trained engineers and program directors. The Voice of America broadcast Sarkisian's pre-recorded shows on Sundays at 18:30 GMT across the African continent, via shortwave radio relays. Originally the VOA was broadcast only outside the United States. Legislation signed in 2013 made the broadcasts accessible to US audiences. Today the MTIA show is one hour long and encompasses a variety of social media content including blogs and videos of interviews with guest artists.

Four hosts gave voice to Music Time in Africa during the four decades that Leo Sarkisian produced the show. Bryn Poole, the spouse of a VOA station officer in Monrovia, Liberia, hosted the program between 1965 and 1967. Miatta Fahnbulleh, a Liberian musician, served as interim host in 1968 while the VOA broadcast facilities in Monrovia relocated permanently to Washington, DC. In 1968 VOA staff broadcaster Susan Moran assumed hosting responsibilities in Washington, DC and served continuously in this role until April 1978. Leo Sarkisian recruited experienced radio announcer Rita Rochelle in 1978 to be the host and public face of Music Time in Africa, a role she filled until April 2004. Occasionally, Leo Sarkisian, dubbed the Music Man in Africa, joined the formal host in the studio to narrate the context of particular musical selections or to regale the audience with stories of his recording trips to the African continent.

In addition to announcing the songs, the scripts provide contextual information. The hosts often explain the song lyrics and describe the places, peoples, and styles (e.g. dance, lullaby, or ceremonial), or musical instruments. The scripts also include announcements of birthdays, requests, and other responses to fan mail, especially during the height of the broadcast years coinciding with Rita Rochelle's tenure as host. The MTIA shows include occasional interviews with guest performers. Under the general direction of Leo Sarkisian, ethnomusicologist Matthew Lavoie assumed responsibility in April 2004 for producing and hosting Music Time in Africa. Recast as an hour-long program broadcast from Washington, DC to the African continent via shortwave and FM signals, Lavoie's MTIA also utilized digital recording technologies to assemble the audio portions of the program from the extensive analog resources in the Leo Sarkisian Music Library at VOA.

To supplement his hosting responsibilities, Lavoie wrote a blog, "African Music Treasures," for the VOA website. The 52 currently existing blog posts compare and contrast music from across the African continent, provide biographical background on musicians, describe musical genres and instruments, and highlight aspects of Leo Sarkisian's original field recordings. The blog posts also engage other contemporaneous bloggers from Europe and the US (e.g., Likembe, Awesome Tapes from Africa, Benn Loxo du Taccu, Worldservice) in a growing discussion on the topic of African musical recordings. The blogs represent Lavoie's areas of special interest. Matthew Lavoie's blog posts remain available through the VOA website and are preserved as fixed PDF files as part of this series. The Internet Archive preserves a small selection of Matthew Lavoie MTIA shows that were uploaded by an anonymous third-party user not affiliated with VOA.

In 2012, Heather Maxwell, an ethnomusicologist with a Ph.D. from Indiana University specializing in African music, took over producing and hosting the Music Time in Africa radio show. She continues to the present day. She has maintained the MTIA-VOA blog and expanded the format of the show to include video interviews (available on YouTube). Maxwell's shows (audio or audio/video only) since 2014 to the present and her blog posts are accessible through the VOA website.

Archival processing established thirteen archival series groupings on what was a richly organic working music library of audio recordings, program documentation, and personal artifacts. The organization of the collection reflects the processes that went into producing the Music Time in Africa radio show, the administrative functions and history of Leo Sarkisian's career, and the structure of the reference library that he built and maintained at the Voice of America's headquarters in Washington, DC.

The majority of the collection consists of audio recordings in analog and digital formats. Audio recordings include complete and incomplete copies of extant Music Time in Africa broadcasts, along with the audio source materials that Leo Sarkisian used to construct the radio broadcasts. The extant MTIA radio shows are compound objects of audio recordings and typed scripts, often existing in multiple copies and multiple versions. Source media range from a preponderance of open-reel quarter-inch magnetic tapes (acetate or polyester base) to LP and 45 rpm records, cassette tapes, digital minidiscs, and CD's. Complementing the extensive audio materials are small collections of supporting documents, personal papers, artifacts, and musical instruments.

The National Endowment for the Humanities supported the digitization of the most complete versions of Leo Sarkisian's MTIA broadcasts. MTIA broadcasts produced and hosted by Matthew Lavoie and Heather Maxwell are in born digital formats as separate parts of the collection. The University of Michigan digitized a selection of unique field recordings created by Leo Sarkisian during his travels in Africa, along with distinctive portions of the source materials that Sarkisian utilized in the MTIA shows. The Internet Archives contains a small portion of Matthew Lavoie's MTIA radio shows. Heather Maxwell's radio shows (also born-digital) broadcast since 2016 are available through the VOA News website. Blog posts on Music Time in Africa and its African musical heritage created by Matthew Lavoie and Heather Maxwell are available on the VOA website.

Collection of research materials on Michigan topics, mostly photocopies, notes, drafts of articles, and correspondence.

The collection consists mostly of photocopies of newspaper articles, magazine articles, information from websites, the Congressional Record, and chapters from reference and other books, on topics of interest to Barnett. Also included are his correspondence and email to various institutions and people asking for information and material, his notes, and typed articles he wrote on various topics. Topics documented in depth include: Ash, Center Line, John Farmer, Upper Peninsula railroads, Magnet Truck, Michigan railroads, the Mackinac Bridge, music and singers who sang songs about Michigan and or cars, the longstanding oleo versus margarine debates and laws, Michigan Central Railroad Co. Head Lights (a publication), Michigan jazz, traffic lights, with biographical materials on W.L. Potts, and Detroit, Mackinac and Marquette Railroad Co. maps (oversized transparencies). The materials (photocopies)on Headlights or Headlight Flashes includes: an advertising publication of the Company, which describes the comfort of traveling via the Company's trains and provides city histories with biographies of important families and individuals, as well as photographs of those people, expensive homes, businesses, public buildings, and pastoral scenes. Towns described include: Michigan City (Ind.), 1894; and the Mich. cities of: Albion, 1895; Pontiac, 1897; Benton Harbor and Flint, 1896; and Saint Joseph, 1898. Also included are microfilmed newspaper articles (photocopies), in which the Headlights of various cities were advertised, 1895-1896 and 1941, and 1997-2000 typed transcripts of other similar newspaper advertisements, 1895-1898. Additional subjects include: Agricultural Demonstration Trains of Michigan State University, 1906-1937; buying Michigan, 1795-1796; counties, name changes/considered creation of new counties; the history of county names; dandelions [as an emergency source of post-World War II rubber]; highway lighthouses [precursors to traffic lights]; lynchings; prisoners building Michigan roads during the 1920s; reflectors (roadside); roadside parks [Michigan had the first]; stagecoaches; broadcasting; homestead lands; Hollywood; the Port Huron and Milwaukee Railroad; Sabbath blue laws; Ludington (Mich.); swamp lands; centroids; Iron Range and Huron Bay Rialroad; ferries; population centers; Oldsmar, Florida; David Ward, Deward (Mich.); the Detroit and Charlevoix Railroad Company; Cigar Industry in Detroit, including strikes, unions, and women employees; Cigar Store Indians; crops of Flax and Gingseng and flax industries in Michigan prisons; Michigan Indians mentioned in county histories; Michigan Road Construction Train; Michigan World War I fruit and olive pit gathering campaign to create gas masks; Ragweed and hay fever and the Northern Hay Fever Resort Association, Topinabee, and the Western Hay Fever Association of the U.S., headquartered in Petoskey; General Philip H. Sheridan 's warhorse Rienzi; St. Mary's Falls Ship Canal Company and its subsidiary units, the Canal Mineral Land Company and the Michigan Pine Land Association; and Windmills in Detroit. Also included is a draft of a book by Graydon M. Meints on lumber baron David Ward that Barnett reviewed. The major topics found in 2021 Addition, Boxes 63-75, include: American Tract Society, Bloomers, Colporteur, Graphite Mining in Michigan, Medical Quacks, Michigan Iron and Land Company, Samuel Geil Maps of Michigan, and Whipping (Military corporal punishment). The 2022 Addition, Boxes 76-79, includes the major topics of Vigilance Committees against German Americans during World War I and Ski Trains. Other topics include: Buffalo Bill Train Accident, Carbon Works in Detroit, Detroit’s Streetlight Towers, Grand Duke Alexis A Romanov Visits Detroit, ‘Hello Girls’ [U.S. Army Signal Corps, World War I], Lindbergh in Michigan, Michigan World War II Veterans Bonus, Wetzel (Antrim County, MI, village), Bomb Mackinaw (which were 1925 practice maneuver plans to prevent enemies from crossing into the straits by dropping bombs from airplanes), and Crawfish. The collection is ongoing.

Processing Note: Abbreviations used by Barnett on folder labels were used and copied by Clarke processors exactly. Acidic materials were copied in 2014.

The collection consists of materials created and collected by two Central Michigan University (CMU) students, Lynn M. Riker and Mary Beth Erdman, who gave her materials to Riker.

The collection consists of materials created and collected by two Central Michigan University (CMU) students, Lynn M. Riker and Mary Beth Erdman, who gave her materials to Riker. Riker’s material documents her extensive activities in committees connected to her membership and leadership of CMU Residence Halls Assembly, which led to her involvement leading or co-leading the planning of the state, regional and national RHA conferences at CMU, including: the Michigan Residence Halls Assembly Conference in 1989, the Great Lakes Affiliate of College and University Residence Halls in 1984, and the National Association of Colleges and University Residence Halls, Inc. For the national she was involved with two bids, the unsuccessful 1985 and the successful 1986. Her papers include a wide variety of conference planning materials and bid packet materials include minutes, notes, correspondence, forms, schedules, budgets, lists of committee responsibilities, members and contacts, reports, conference invitations, banquet programs, certificates, fliers, stationery, and evaluations. Mary Beth Erdman’s materials include: 1950s and 1960s photographs and historical information about CMLife and CMU history articles that she wrote about or edited, including student demonstrations over censorship, 1960-1962, correspondence about her censorship editorial from CMU officials, including Wilbur E. Moore, Vice President of Academic Affairs, and a history of the Mount Pleasant High School student newspaper, the Stude, she wrote in 1954. Erdman also donated a photograph of a New Moon camper show with movie posters of The Long, Long Trailer, a 1953 MGM romantic comedy movie starring Lucy Ball and Desi Arnaz filmed in a New Moon trailer. The collection is organized by size and then alphabetically and chronologically.

The University of Michigan's Office of Academic Human Resources (AHR) provides human resource services for various university faculty and graduate student employees. Its staff are responsible for union contract issues and processes for academic employees as well as managing the tenure and promotion process for the Provost's office. The collection consists of hard copy and digital promotion casebooks for University of Michigan faculty and research staff at the Ann Arbor, Dearborn, and Flint campuses. Also included are promotion guidelines and checklists.

The Office of Academic Human Resources Promotion Casebooks record group primarily consists of files on various tenure-track faculty members recommended by the leaders of colleges, schools, divisions, and institutes to the Board of Regents for promotion and/or tenure. Each individual's file typically includes the notification of the Regents' decision in the case, the promotion recommendation from the dean (or appropriate unit leader), a curriculum vitae, letters of recommendation, and related documentation. The records are arranged chronologically by academic year and then alphabetically by academic unit. Larger schools and colleges associated with the University of Michigan Ann Arbor's campus, such as the College of Engineering; College of Literature, Science and the Arts; and the Medical School, are often further subdivided by department or division. Files for the UM-Dearborn and UM-Flint campuses are usually located at the end of each year and are also subdivided as appropriate. Particularly for the later years, as the files become more voluminous, additional documentation may be present, such as examples of research or teaching evaluations. In some cases, there is some blurring of the academic year or a promotion file was held back. For those reasons, those seeking a particular file may be compelled to look in one or more years—and particularly consult the appropriate out of season casebooks—to locate the sought-after file. In addition to these casebooks, the record group also includes promotion and tenure guidelines and checklists for particular academic years.

University of Michigan unit responsible for admitting applicants to the university's various undergraduate programs. Includes the correspondence and topical files of former Director Ted Spencer and Associate Director Marilyn McKinney, Board of Admissions meeting minutes, admissions guidelines and related material, minutes and data of the Enrollment Working Group, and audiovisual and photographic material. Also included are numerous publications produced or collected by the office, such as newsletters, reports, brochures, and procedures.

The Office of Undergraduate Admissions (University of Michigan) records documents the activities of the Office of Undergraduate Admissions, particularly its leadership and outreach activities. Material is dated from 1911-2022 and includes the correspondence and topical files of former Director Ted Spencer and Associate Director Marilyn McKinney, Board of Admissions meeting minutes, admissions guidelines and related material for various university units, minutes and data associated with the Enrollment Working Group, and audiovisual and photographic material. Also included are numerous publications produced or collected by the office, including newsletters, reports, brochures, administrative materials, applications, information on recruitment programs, transfer and application guides, recruiting videotapes, and admissions data reports aimed at prospective students, admitted students, transfer students, international students, high school guidance counselors, as well as faculty and staff.

This is a nearly complete collection of oversized, matted color composite photographs of the sorority, 1983-2021.

This is a nearly complete collection of oversized, matted color composite photographs of the sorority, 1983-2021. The photographs are organized by size and chronologically. All the composites include the color portraits, names, and officer positions of the sorority members; the sorority name, Central Michigan University, the academic year, the coat of arms of the sorority with its moto, Les Souers Fideles, and the name of the photography company. The composites are in good condition, but most have sustained some edge damage and have tape around the periphery of the back side. Most of the composites are mounted on heavy board. Sizes of the composites vary in size from 24x30 to 42x53 inches. A few of the composites in the collection include photographs of sweethearts. A photograph of Emerson, a service dog, is included in 2020/21. The composites for 2015/16 and 2016/17 list a few names for women whose photographs are not included. A few composites have tape damage on the front. Years missing from the collection include: 1987/88; 1994/95; 2001/02; 2007/08; and 2013/14. Photographers are identified on every composite and include: 1983-1990/91 Fraternal Composite Service, Inc.; 1991/92-1993/94 Vantine Studios, Hamilton, NY; 1993/94-2004/05 Custom Composites, Inc.; and 2005/06-2020/21 Digital Pix and Composites, LLC. The collection is stored in oversized folders in map cabinet drawers.

This is collection of oral history interview cassettes of Richard C. “Chit” Train, transcriptions of the one and only oral history interview with Kha Nay Ung Train, a draft outline of book chapters all by Joan Shippers Memering, and a few related materials.

This is collection of mostly oral history interview cassettes of Richard C. “Chit” Train, transcriptions of the one and only oral history interview with Kha Nay Ung Train, and draft outline of book chapters all by Joan Shippers Memering. There are also a few related newspaper clippings (copies) of Cambodian refugees in mid-Michigan, including one by Memering, a cassette of This Shattered Land by Jim Laurie [and Pamela Hill, who is not listed in the credits], a documentary of the destruction of Cambodia, 1970-1979, by the Khmer Rouge Regime and the Cambodian Famine, 1979-1980. The slides are all topically related. About half the slides are from a slide presentation titled Kampuchea: it’s People, Land and Culture by Asia Resource Center, Ontario, 1980. Kampuchea was the Cambodian state, 1975-1979, under the Khmer Rouge, the Communist Party of Kampuchea. The collection is organized alphabetically, chronologically, and by format. he collection is in very good condition.

The oral history interview cassettes includes black and white cassettes. The black cassette tapes are written on in pen or marker, while white cassettes have typed labels, so the black cassettes were the initial recordings and the white cassettes appear to be a master copy as they are not edited. For most dates there are both black and white cassettes, but for some dates there are only cassettes of one color.

Besides the Trains, Joan interviewed other Cambodian refugees: Meng Leng [Phou], Heng Suy Keang, who was called Lim Son Seak, Tan Chen Fu, Ing May, and Din Leng, who are discussed in her draft book chapter. For more information about them, please see the Joan Shipers Memering Papers finding aid.

There is also one folder of correspondence and between the Trains and Joan and one folder of materials about Richard C. Train.

Processing Note: A folder of a few mailing envelopes and a duplicate transcription were returned to the donors as specified on the donor form.

Dr. Richard E. Smith is a Black University of Michigan alum, member of the Epsilon chapter of Alpha Phi Alpha, a historically Black fraternity, and an obstetrician-gynecologist (OB-GYN) who worked to enhance prenatal care for teenage and young mothers. He was also involved in efforts to commemorate the role that Detroit and its institutions played in the Underground Railroad. Includes award information, biographical and genealogical material, correspondence, publications, a scrapbook, and topical files.

The Richard E. Smith papers document Smith's personal and professional activities, particularly his involvement in the Epsilon chapter of Alpha Phi Alpha, professional career as an obstetrician-gynecologist (OB-GYN), and efforts to commemorate the role that Detroit and its institutions played in the Underground Railroad. Material is dated from 1969-2022 and includes award information, biographical and genealogical material about his family, historical material about St. Matthew's Episcopal Church, correspondence relating to his professional career and activities, publications, an Alpha Phi Alpha scrapbook, and topical files.

The Richard Ross collections brings together correspondence, research, reports, and proposals for the Junior Year in Africa/Africa Exchange Program and Master's programs in Black History, originated by Dr. Richard H. Ross, Sr. during his time as a student at the University of Michigan, and as Director of Research for the Center of Afroamerican and African Studies (CAAS), recognized as the Department of Afroamerican and African Studies (DAAS) in 2011. These materials document some of the early history of CAAS, including efforts to keep the center running when faced with termination in 1973.

The Richard Ross collection is a chronological set of papers documenting projects Dr. Richard H. Ross, Sr. worked on during his time at the University of Michigan, both as a student and as the Director for Research at the Center for Afroamerican and African Studies, now known as the Department for Afroamerican and African Studies. The bulk of the collection materials document Ross' efforts toward a Junior Year in Africa/Africa Exchange Program (JYA/AEP) including research; a report on paternalism and racism in the University of Michigan Financial Aid Office toward Black students; financial proposals; and correspondence. The JYA/AEP materials also include the mission statement, founding documents, and photographs of projects run by the African American and African Foundation on Science, Education, and Economics Development, Inc. (AAAFSEED). The rest of the materials document Master of Arts proposals, the Request for a Three-Year Evaluation for CAAS in 1973, and Ross' correspondence with CAAS and LSA regarding the donation of this collection.

Music, theatre, and dance education unit of the University of Michigan. Also represented in this collection are its predecessor organizations, the Ann Arbor School of Music and the University School of Music, and its departments. Includes records of students and instructors, correspondence, topical files, and materials related to student and faculty performance groups. Archived versions of the School's websites provide additional documentation of academic programs, research, events, people, and policies.

The School of Music, Theatre, & Dance (University of Michigan) records document music education in Ann Arbor and the University of Michigan and student and faculty musical production beginning in 1885. The records include student ledgers listing names, tuition, and instructors; correspondence and clippings, 1924-1953, concerning the University Band, including correspondence of William D. Revelli; files relating to musical programs, particularly the Michigan Singers' Spring Tour, the Union Opera, and Musket productions; minutes of the executive committee and faculty; and digitized audio and video recordings of performances, including performances at the Interlochen Center for the Arts, by the Michigan Youth Ensembles, and other groups associated with the School of Music, Theatre & Dance. Also included are files associated the Department of Dance and Department of Theatre and Drama.

1. Topical Files -- Boxes 1-5, 25-30, 35-41, online
2. Student Ledgers -- Volumes 1-7
3. Dean's Files -- Boxes 6-8, 30-31
4. Faculty Records -- Boxes 9-24
5. Donor Files -- Box 31
6. Executive Committee -- Boxes 32, 34
7. Department of Dance -- Boxes 44-46, online
8. Department of Theatre and Dance -- Box 33
9. Archived Website -- online
10. Audio recordings (original audiotapes and digital recordings) -- Boxes 42-43, online
11. Video recordings -- online