- About Archives
- About SAA
- Careers
- Education
- Publications
- Advocacy
- Membership
AGGRESSIVE OUTREACH: USING THE LESSONS OF BUSINESS AT THE AANA ARCHIVES
Lee C. Fosburgh, Archivist, AANA
Introduction
In 1931, the American Association of Nurse Anesthetists (AANA) was established as the professional association of nurse anesthetists in the United States. In 1989, the publication of the history of America's nurse anesthetists by the AANA generated member interest in the history of nurse anesthesia. This ultimately led to the creation of the AANA Archives in the fall of 1994 for the purpose of making its records available for research to members, students, staff and approved researchers. As a small new unit within AANA's large headquarters, charged with serving a mostly member clientele who often knew little about the archives holdings, one of the archivist's major responsibilities quickly became aggressively promoting the archives based on user interests and needs.
The following case study on archival outreach can be used as a primer for association archivists on how to situate the archives in a high profile position within an association. The case study argues archivists must anticipate, plan and participate in all publicity campaigns that promote either the archives or the history of the association. To accomplish this goal, an archivist can cost-effectively use the association's preexisting network of meetings, publications, audio-video productions and mass mailings to disseminate information. High profile endeavors, such as anniversaries and oral history projects, will go a long way toward justifying the archives existence by defining its image to leadership. Archivists can also use subtle methods of outreach such as staff meetings to promote confidence in the archives. The AANA's methods of outreach, such as marketing strategies, are borrowed from both archival outreach and business archives literature.
History of Nurse Anesthesia
Nurses were the first professional group to provide anesthesia services in the United States. Established in the late 1880s as the first clinical nursing specialty, nurse anesthesia developed in response to the growing need of surgeons for trained anesthetists. Although the identity of the first nurse anesthetist is not known, the earliest on record was Sister Mary Bernard, a Catholic nun from Wichita, Kansas in 1887. The most famous nurse anesthetist of the nineteenth century, Alice Magaw, worked at St. Mary's Hospital (1889), in Rochester, Minnesota, which later became part of the Mayo Clinic. Magaw earned international respect and the sobriquet "the mother of anesthesia" for her mastery of open drop inhalation anesthesia.
Many important advances have been made by nurse anesthetists. They participated in the development of the equipment for utilizing certain anesthesia techniques; they pioneered in anesthesia for specialty surgery, particularly related to heart and lung surgery; and they established the first formal education training programs in anesthesia (1909).
Additionally, nurse anesthetists served as the principal anesthesia provider in combat areas in every war the United States has been engaged in since World War I. In World War II, there were 17 nurse anesthetists to every physician anesthetist and, in Vietnam War, the ratio was approximately 3:1. Nurse anesthetists were sent with the fighting forces during the invasion of Panama and Operation Desert Shield/Desert Storm.1
Creation of the AANA
The AANA, originally named National Association of Nurse Anesthetists, was founded in 1931 making it the oldest specialty nursing organization in the United States. The AANA represents Certified Registered Nurse Anesthetists (CRNA's) and nurse anesthesia students nationwide. The AANA implemented a certification process for nurse anesthetists in 1945, and developed an accreditation program for nurse anesthesia education in 1952. The credentialing processes are broadly recognized by appropriate public and private agencies. The AANA was a leader in forming multidisciplinary councils with public representation in order to fulfill the profession's autonomous credentialing functions. The AANA, as a professional association, promulgates education and practice standards, position statements and guidelines for the nurse anesthesia profbssion.2
AANA Membership Today
The AANA has approximately 27,000 members. According to the 1991 AANA membership survey, CRNA's administer more than 65% of the 26 million anesthetics given to patients each year in the United States. As the sole anesthesia providers in 85% of rural hospitals CRNA's afford these medical facilities obstetrical, surgical, and trauma stabilization capabilities. In the administration of anesthesia, CRNA's perform the same functions as anesthesiologists. CRNA's provide anesthetics to patients in collaboration with surgeons, anesthesiologists, dentists, podiatrists or other qualified physicians.3
Creation of the AANA Archives
The publication of Marianne Bankert's Watchful Care: A History of AmericaÂs Nurse Anesthetists by the AANA in 1989 generated interest in the history of nurse anesthesia that ultimately led to the creation of the AANA Archives. Watchful Care expanded on the first historical treatment of nurse anesthetists' contributions by Virginia S. Thatcher in her History of Anesthesia with Emphasis on the Nurse Specialist published in 1953. Prior to History of Anesthesia, nursing's contribution to anesthesia history had been overlooked or denigrated by other historians. Thomas E Keys, in The History of Surgical Anesthesia, considered the premier history of surgical anesthesia, fails to mention the contributions of nurse anesthetists.4 Even today, historical publications, usually by anesthesiologists, prefer to not mention working relationships between nurse anesthetists and medical doctors.5 Watchful Care contributed significantly to the public's understanding about nurse anesthetists by arguing that nurses have overcome economic and gender-based obstacles to retain the right to administer anesthesia. The book also educated many nurse anesthetists to their own heritage, and thereby generated among them a renewed interest in their profession and association's history.
An exhibit entitled "Marking CRNA Footsteps in History," created for the 1990 AANA Spring Assembly of States, displayed important documents, photographs and memorabilia dating back to the founding of the AANA. The exhibit drew attention to the fact the AANA possessed a large and valuable historical collection. The material had been stored in both an attic and a basement which suffered from periodic floods. Although the records were under the auspices of the AANA Library, they were not easily accessible since they were not inventoried. A history focus session was held to assess the level of interest in history and educate members to its importance at the 1992 AANA Annual Meeting. A proposal for a formal archival program was considered by the AANA Board of Directors, and funds were appropriated to hire a staff archivist in 1993. Key staff members visited the well-established Oncology Nurses Society Archives in Pittsburgh on a fact-finding mission in April 1994. At AANA, a full-time archivist was hired to begin the overall program in October 1994. 6
Collections
The AANA Archives Mission Statement charges the Archives with the "responsibility of making available for research official AANA records of sufficient historical, legal, and administrative value to warrant permanent preservation. Official AANA records include documentation in any form produced or received by any employee or member of AANA while engaged in official AANA business." The AANA Archives consists of record groups representing AANA's committees, offices and subsidiary organizations. The records are used by AANA members, students, staff and approved researchers. AANA staff uses the Archives to document past decisions or to research the history of their department or committees under the auspices of their department. Nurse anesthesia students use the Archives for the completion of theses or dissertations. The AANA Archives Access Policy relates the fact that, as in most private institutions, the AANA's collection is available for research to membership, leadership, nurse anesthesia students and office staff . The Access Policy permits other researchers to use the AANA's collections with the approval of the executive director. Approved researchers commonly request reproduction photographs and permission to publish them in nursing and medical journals.
The AANA records document such topics as: the role of early members, such as Agatha C. Hodgins, in founding the association; the struggle to establish the legality of nurse anesthetists (1934); and the inclusion of African-Americans (1944) and male nurse anesthetists (1947) into membership. In addition to pursing aggressive records management and oral history programs to capture administrative documentation and the viewpoint of the leaders, respectively, the archives collects the papers of individuals and records of organizations engaged in work which is reflective of the mission of the AANA. The Archives provides a broader context for the history of nurse anesthesia by serving as the official repository for the International Association of Nurse Anesthetists which was founded in Lucerne, Switzerland, in June 1985 and through a rare collection of anesthesia text books (1860-1959).7
Outreach "Within" the Association:
Identifying and Marketing Potential Users
Based on its mission statement, the AANA Archives outreach program broadly targets the association's members, nurse anesthesia students, leadership, office staff and approved researchers. In 1978, Elsie Freeman argued that archives serve the different needs of researchers and the goal of any archives outreach program should be to identify the needs of its users and to match the service to their needs.8 A user study has not been conducted by the AANA Archivist because the user base within the nurse anesthesia community is well-defined and use by outside researchers is not promoted. Philip F. Mooney suggests in his article, "Modest Proposals: Marketing Ideas for the Expansionist Archives," that archivists use marketing techniques such as "targeting" to increase potential user groups. Mooney states, "Viewing their collections in the same light that marketing executives view their commercial products may be helpful exercise for information professionals who have little experience in advertising or promoting their collections. "9 All archival user groups have different appetites and tastes when it comes to research. Even more important, a broad range of offerings is needed since every audience is different.
The diversity of research needs among AANA researchers articulates this point. AANA membership, which includes both CRNA's and students from nurse anesthesia schools, is interested in both scholarly research and general history pertaining to nurse anesthesia. AANA leadership, prefers to be involved high profile historical events such as oral history projects, commemorations, and dedications. The archivist targets what people should be interviewed or which past events warrant a commemoration or dedication. The archivist even writes speeches for leadership for such occasions. The office staff is concerned with the management of active and inactive records produced by their respective departments.
Cost-effective Outreach: Using Preexisting Frameworks
Anniversaries. Associations have a large number of councils, committees, and educational or social events that warrant an appropriate celebration. Timothy L. Ericson wrote in his article "Anniversaries: A Framework for Planning Public Programs" that archivists need to anticipate, plan, and deliver the appropriate information to make these events a reality.11 To effectively anticipate, plan, and participate in possible events the archivist must stay in touch with the appropriate departments involved in the event. In an association, these are commonly the education, public relations, or programs and meeting services departments.
Ericson's first law of outreach states: "Human beings are unable to resist celebrating any anniversary divisible by twenty-five."12 I would be as bold to suggest a corollary to Ericson's first law: people like to celebrate any anniversary divisible by ten. Because anniversaries are high profile events, planning should include a presentation by the appropriate association leadership, and, even more importantly for your cause, by the archivist. The archivist's involvement will demonstrate to the associationÂs membership the value of archival records and provide the archives an identity within the institution. Within the last year the AANA has celebrated the twentieth anniversary of the Council on Accreditation of Nurse Anesthesia Programs, the twentieth year the AANA has held an independent Annual Meeting, and the fiftieth anniversary of the founding of the Assembly of School Faculty. The Archivist was also involved in a plaque being placed at the University Hospitals of Cleveland, Lakeside to commemorate the founding of the Association in 1931. All of these events were commemorated with the presentation of brochures and a ceremony attended by AANA membership and leadership.
Since the events were high in profile, they were covered by the Association's newsbulletin and, in some cases, the national wire services. By delivering the appropriate information and participating in the event, the archivist will maintain a high profile and show to association membership and leadership that the archives is more than "dusty shelves."13
Meetings. Most associations hold a wide variety of meetings which allow members to both network and participate in educational sessions. Besides providing a good forum for a celebration or commemoration, the archivist can use this time to provide a session to members on history topics pertinent to their tastes or needs. Since 1994, the AANA Archivist has held history focus sessions at the Annual Meeting. Although the history focus sessions do not merit any continuing education credits, they have the best attendance of the possible focus sessions offered to membership. Topics addressed cover practical, not theoretical, applications of archives and history. Topics thus far discussed include: historical research, creation of archives for state nurse anesthesia associations, and oral history on the state level. The creation of state nurse anesthesia association archives in California, Michigan, and New York have been a direct result of member participation in the history focus sessions. By offering focus sessions, members feel that they are part of an ongoing archives program just as a volunteer may feel at a historical society. This again dispels the public's preconceived notion that archives are for just collecting.
Meetings held by the association are the perfect place to use a portable archives exhibit, since most members of an association do not visit its headquarters. An exhibit would document the history of the association while at the same informing the viewer the archives possesses a valuable and accessible collection. As Mooney states, "Exhibitions offer extraordinary potential for outreach in a society attuned to receiving messages is short visual bursts. Many archivists do not fully exploit either the opportunities inherent in their collections or the habits of television viewers."14 Companies that create exhibits for conventions should be able to help an archivist with his or her needs. It is important that the exhibit fits in the standard size of most convention exhibit space (10 ft. x 10 ft.). A 10-panel exhibit containing text, photographic prints, header, and a shipping case can cost anywhere from $4,000 to $12,000. Archivists with larger budgets might want to think about specialty items such as literature pockets, and halogen lights. Since the exhibit is portable, it can be loaned for other related associations meetings, such as state associations. It is important that the manufacturer makes the layout of the exhibit basic since the archivist will not be the only one setting up the exhibit.
Mass Mailings. Associations have many mass mailings to membership to keep them informed of upcoming events such as meetings or educational session. This is a perfect time to enclose any brochures or literature that you may have to promote the archives. Outreach activities include "written reports, brochures, or repository guides."15 Most importantly, "piggy backing" a mass mailing is economical because your department is not paying for it. Mooney describes archival brochures as "the most common publication form, and arguably the most important, is the institutional brochure or flyer that every archivist should produce and distribute both to its internal and external constituents. The beauty of this form is that the brochure is a flexible and economical medium, allowing the creator to employ varying design techniques to convey a sense of the institution."16 If your brochure is letter size, well designed, and captures the essence of your collections it should create a new clientele that would have never used your archives. It is important to enclose your brochures or flyers with an appropriate mailing. For example, AANA mailing to events such as the Annual Meeting and educational sessions would better target potential archives users than a lobbying meeting in Washington, DC since lobbying meetings generally attract AANA leadership who do not use the collections for research. Again, you must know your clientele to successfully market your product to their needs.
Publications. Associations provide informational and scholarly publications to their members. The publications are in the form of news bulletins and journals which provide archivists with an excellent avenue for publicizing their collections. Start a column in your journal that solicits articles from members on historical topics pertinent to their profession. Most editors of professional journals are more than happy to accommodate your needs due to a shortage of submitted articles. The archivist can use the column to promote the association's collections by printing articles on individuals or topics documented within the collection. Be sure to use photographs and graphics to enhance the article to the reader; photographs say a thousand words. Readers want articles, such as biographies, that are not too theoretical or technical.
News bulletins provide a forum for thanking members for donations and promoting new accessions. This enlightens members to the fact that archives are not stagnant and any historical records or mementos they possess are truly unique. Archivists also should work with the news bulletin editor and the public relations department for coverage of any ceremony and event in which the archives has participated. This includes articles with the association's news bulletins and the distribution of press releases. In September 1995, the national wire services ran a story of the AANA Archives recognition of the fiftieth anniversary celebration of nurse anesthetists participation in World War II. This was only accomplished through the efforts of the archivist and the public relations department. New bulletins also print annual reports which list the accomplishments or activities of each department within the association. The archivist should be included in this report citing projects finished, planned, or in progress; collections donated; and number of reference requests handled per year or month.
Audio-Video Productions. Oral history interviews have increasingly become important primary research sources used by AANA membership. According to Marion E. Matters, "The oral history interview has developed as a distinct intellectual form, sharing some characteristics of deliberately created works, such as monographs, and some characteristics of unselfconscious accumulations, such as archival records."17
AANA leadership is interested in high profile archival projects such as video production of oral history interviews. The AANA's oral history experience has deferred from the trend started in the 1970s of interviewing individuals "from the bottom up. "18 Leadership, such as past presidents and board members would like to secure the legacy of their administrations. Therefore, they maybe willing to finance expensive projects such as video production or oral history interviews. Interviews are best done at large association events, such as the annual meeting because most people attend the larger meetings and there usually is a video production team at the site. This will keep costs down since the archivist will not have to pay cost such as airfare, lodging, and the shipping of equipment. Due to cost, the archivist needs to be careful who is targeted for interviews. At the AANA, past presidents from 1960 to 1989 have been interviewed in three groups at the Association's Annual Meeting since 1994. Only the outgoing presidents will be taped, once all of the past presidents have been interviewed.
One individual who many have not been politically active in the AANA, but is important to the profession's history, is picked by the Executive Director for an interview at the Annual Meeting. Leadership is very enthusiastic to be involved in this endeavor. Unexpected benefits from the project included future accessions of past presidents records simply through their interaction with the archivist.
Interaction with Staff and Members. Archival outreach can be a subtle as the interaction with a fellow employee. Staff meetings can be an effective educational tool for an archivist to promote the use and benefits of the association's archives to department heads and support staff The archivist can help both department heads and support staff with questions concerning the association's records schedules and the archives policies and procedures. AANA staff routinely is concerned with how quickly the archivist can access their departments records or whether they should destroy or keep documents within their area. Discussing the archives procedures and policies, such as a retention schedule, face-to-face demonstrates the archives physical control of records in its possession.
An archives committee, made up of members, or a liaison, selected by leadership, can be a tool for the archivist to use in explaining the objectives of the archives to membership. In the case of the AANA Archives, the archivist works with a liaison who solicits possible volunteers, donations and articles from members and participates in oral history programs. Some members feel more comfortable being solicited by another member about donating a collection. More importantly, since the liaison is a member, he or she is able to lobby AANA leadership for support, usually financial, for special projects such as oral history interviews or the purchase of collections. When a liaison solicits leadership for funding they may be more inclined to fund the project since the liaison is speaking for membership.
Conclusion
With the proliferation of organizational records and growth of specialty professions, archives within associations and non-profit organizations are going to become more common.19 In this highly competitive work environment, archivists must be both innovative and aggressive when promoting their collections. Archivists must know their clientele and match the archives services to their needs. Techniques such as publications, and the use of the preexisting business information distribution framework, an archivist will be able to get the archives message to potential users while at the same time convincing their employers that archives are vital to the mission of the association or company. Anniversaries, meetings, mass mailings, publications, audio-video productions, and interaction with staff and members are all efficient and cost-effective for distributing information on the archives and its holdings. By applying the proven techniques described in both archival outreach and business archives literature, the association archivist can successfully give the archives a high profile position within the organization that promotes use by a varied clientele of members, leaders, and historical researchers.
About the author
Lee C. Fosburgh has been the archivist for the American Association of Nurse Anesthetists since October 1994. He holds a MLIS/MA from the University of Wisconsin-Milwaukee. He has previously held the position of project archivist at the Chicago Historical Society.
AANA White Paper (Chicago: American Association of Nurse Anesthetists, 1994).
PRESERVATION BY DESIGN: ARCHIVES AND RECORDS SERVICES AT HERMAN MILLER, INC.
Robert W. Viol, Corporate Archivist, Herman Miller, Inc.
Who is Herman Miller?
Herman Miller Inc. is a leading multinational manufacturer of furniture, furniture systems and furniture management services. Headquartered in Zeeland, Michigan, Herman Miller has been a source of major innovation in the residential and office environments. The company emphasizes problem solving through design, participate management, environmental responsibility and employee stock ownership.
Herman Miller, Inc. began in 1905 as the Star Furniture Company, a manufacturer of ornate reproductions of traditional-style home furniture. The companyÂs name was changed to The Herman Miller Company in 1923 when D.J DePree and Herman Miller (DePreeÂs father-in-law and respected local businessman) acquired majority control.
Hard-pressed to stay in business during the Depression, D. J. DePree gambled on contemporary furniture designed by Gilbert Rohde. The gamble paid off, and by 1945 the company phased out its traditional line to concentrate on "modern" furniture.
The association with Rohde began Herman MillerÂs practice of working with the worldÂs finest independent industrial designers that would ultimately include George Nelson, Charles Eames, Isamu Noguchi, textilest Alexander Girard, and inventor and researcher Robert Propst. TodayÂs innovative designs are created by Bill Stumpf, Don Chadwick, Jack Kelley, Tom Newhouse, Geoff Hollington, Bruce Burdick, Richard Holbrook, Jean Beirise and others.
Collections and Services
Herman MillerÂs corporate archival holdings have been described by researchers as "awesome" - a testimonial to the corporate officers, who have generously provided monetary and moral support, and to the dozens of men and women, who have contributed their effort, time and talent. The archives, now located in one of the companyÂs original buildings, documents the development of Herman Miller product from its inception and creation to marketing and distribution. Collections include publications, administrative records, photography, drawings and blueprints, oral histories, audiovisuals, three dimensional artifacts, fabric and textiles, and graphics.
To Protect, Serve and Defend
Currently the archives and record services comes under the administrative arm of Herman MillerÂs corporate legal department - a good safe place to be. Marketing and public relations may not always see the value in supporting and maintaining archives, but the lawyers know we have what they need and -- we know where it is. Given the litigious nature of our society, procedures have been established with corporate legal and other departments to quickly and efficiently identify key people in the company, who can supply records requested during the document discovery process. A team, including members from both archives and records services and corporate legal, and representatives from local law firms contracted to represent our interests, has been created to respond to court-ordered record requests and to coordinate documents received from other departments. Space in the record center has been designed to store requested documents and accommodate lawyers from both sides of the courtroom.
Get Rid of that Backlog! It Costs Us Money!
Litigation research has demonstrated the urgent need to eliminate the backlog of uncataloged Herman Miller publications and non-Herman Miller materials containing third party endorsements of our product. Every growing and viable archives will have a backlog of the unprocessed, however, when records or publications are requested as a result of a court order we have to make an effort to locate those documents. The cost of paying a lawyer, or even a paralegal, to search through 300 boxes is greater than the cost of hiring a crew of processors and catalogers. Additional staff to process and catalog has been acquired through re-deployment of existing record center staff and the hiring of Herman Miller retirees, local high school and college students and temporary employees.
Planning a Face Lift
Increases in staffing levels and the need for additional and smarter work spaces in the archives and records center has provided the rationale for completion of interior renovations including new office furniture. (You would think it would be easy for the archives to obtain the latest in office furniture since Herman Miller is the second largest office furniture producer in the country, however, convincing the accountants that new office furniture in the archives provides economic benefits for the company and our shareholders has been tricky.) We have been asking for a ¯face lift for years but finally got their attention by scheduling an open house in the archives for Herman MillerÂs retirees, including past CEOs and the sons of the company founder. Two weeks later a team from facilities provided a cost analysis for the project. The redo has been tentatively approved and should be completed by spring. - just in time for the June 1998 meeting of Herman MillerÂs retirees.
ItÂs Not Too Late!! Encapsulate
(and other preservation/conservation projects)
As a result of constant and continuous use of our oversize items including drawings, posters, advertisements and other graphics by corporate legal, public relations, design and development and several public exhibitions, an encapsulation project is underway. Utilizing the services of a local consultant, more than 800 items will be protected by the end of 1998.
The archives also maintains several thousand drawings of Herman Miller furniture pieces designed by George Nelson & Associates dating from the 1950s and 1960s. These drawings are scheduled to be sorted, arranged, labeled and microfilmed. The drawings of Charles Eames and Gilbert Rohde have been filmed and are available for research.
Herman Miller Meets Henry Ford
Throughout the years, the design community has acknowledged Herman MillerÂs commitment to quality, innovation and fine design. Many of our designs are in the permanent collections of major museums including New YorkÂs Museum of Modern Art, the Whitney Museum and the Smithsonian Institution.
In 1989 Herman Miller donated its 770 piece collection of product lines and furniture prototypes to the thirteen museums making up the Herman Miller Museum Consortium. Skillfully managed by the Henry Ford Museum in Dearborn, Michigan, the consortium continues to receive Herman Miller product, both past and present. The Herman Miller archives coordinates these donations. Additionally, we provide consortium members with supporting literature about our furniture, our company and our designers.
Author! Author!
Residential and institutional furniture designed by Gilbert Rohde, George Nelson, Charles Eames, Isamu Noguchi, and others continues to be hot commodities among designers, design students, art curators and collectors. The archives receives hundreds of requests from authors and publishers from around the world for information and/or photography pertaining to both "classic" and current designs.
To respond to the needs of serious researchers requiring use of Herman MillerÂs archival material, we established the Herman Miller Author in Residence Program. Office space and clerical support are provided in the archives for individuals making extensive use of our collections. Our first "author in residence" Phyllis Ross, will arrive in June. Ross, who worked for the Library of Congress on a current Charles and Ray Eames Exhibition, will be using our Gilbert Rohde collections.
The Only Thing We Can Promise You is Change
Like all corporations, Herman Miller, Inc. continues to experience dramatic changes. Old facilities are renovated or sold, new facilities are acquired or built; long-time employees retire; and new employees become part of the Herman Miller community. All of these changes have had a dramatic, yet positive, impact on the archives and record services department. Although the archives continues to be viewed as an important corporate asset providing a competitive advantage, we need to identify new ways to add value to the company and to become more proactive and less reactive. Communication with the rest of the corporation must be improved - perhaps through Intranet capabilities and online newsletters, outreach programs to new employees, and contact through existing internal publications.
For the archives, this is a time of great change but also great challenge. To contribute and prosper, we must make the corporationÂs mission and objectives our own - and demonstrate that our collections, can and do, support all aspects of the business, from design and development, to marketing and sales.
UNCOVERING THE PAST: RE-CREATING INTERNATIONAL PAPER COMPANYÂS "LOST" ARCHIVES
John C. Rumm, Senior Historian, The History Factory
It is paradoxical that the leading manufacturer of the paper products, which historically have been used by most major companies to document their business transactions and operations, until recently has done little to preserve its own records. Yet such is the case with International Paper Company (IP), which is observing its centennial in 1998. A unique project undertaken by IP over the past year and a half, however, has made great strides in recovering its past.
IPÂs preparations for its anniversary began in 1995, when it retained The History Factory (THF), a consulting firm specializing in heritage management services for corporate clients, to develop its centennial programs. Among the projects that THF proposed were a traveling exhibition and a book chronicling IPÂs history. A major challenge existed, however, to the realization of these projects: IP lacked a central archives or record management repository. In part an outgrowth of the relocation of IPÂs headquarters several times since the companyÂs founding, this situation also reflected IPÂs corporate structure. Until the mid-1970s, the company was decentralized within two largely autonomous divisions (Northern and Southern Kraft). But the most important factor was IPÂs stringent record management policies, which required its corporate offices and company facilities to purge documents and artifacts on a regular basis.
At the same time, however, reason existed for optimism. First, some IP facilities had ignored the companyÂs record management policies and had safeguarded historical materials. During 1996, THF visited selected IP facilities in New York, Maine, Mississippi, Alabama, and Illinois to ascertain the extent, content, and condition of such materials. These forays yielded some significant discoveries, such as six linear feet of historical photographs and employee newsletters at IPÂs Hudson River Mill in Corinth, New York. Second, during their visits to IP facilities, THF learned that untold numbers of potentially significant documents and artifacts either had been saved by current employees and retirees, or had been acquired by local historical societies and libraries.
To locate privately held historical materials, in the fall of 1996 IP and THF launched a "Discovery Process." The company designated "Centennial Program Champions" at each of its facilities, charging them with spreading the news internally and externally about IPÂs forthcoming centennial and its interest in obtaining historical materials to support the observance. To assist Champions, THF prepared a manual, which included guidelines on the types of materials sought, where they might be located, how they might be acquired through donation or loan, and how they would be handled, along with informational posters, employee information flyers, and loan/donation forms. Materials collected under the Discovery Process were to be forwarded to THF for organization, temporary archival storage and for use in developing centennial programs.
By any measure, the Discovery Process was an unqualified success. From November 1996 to July 1997, THF received submissions from more than 500 current and former IP employees, from nearly every state and from as far away as Japan, France and New Zealand. Oral history interviews, which THF conducted with some 200 IP employees and retirees during the summer and fall of 1997, also yielded additional materials. Ranging in size from one page to several record center cartons, the submissions totaled more than 200 linear feet. They included correspondence; written reminiscences; financial statements and account books; annual reports; employee newsletters and mill publications; advertisements, scrapbooks and ephemera; maps and plats; photographs, slides, and negatives; motion pictures, home movies and videotapes; and sound recordings. The Discovery Process also yielded nearly one hundred artifacts that ranged from commemorative mementos, to tools, implements and a collection of nineteenth-century patent models for paper and paper-making equipment.
Though idiosyncratic and by no means a complete archives, the body of materials assembled by the Discovery Process has proven invaluable to IP and THF. The materials have been used to write and illustrate Generations of Pride: A Centennial History of International Paper. The documents and artifacts have also supported research on a range of company-generated historical inquiries, the production of several videos, and the development of a traveling exhibition. Most importantly, these materials will serve as the nucleus for what is hoped will become an "IP Historical Archives," to be increased through targeted collecting efforts. Together with a redirection of IPÂs records management program, these steps should ensure the preservation of historically significant materials for the future.
FROM PRESERVATION TO PRESENTATION: SHARING TREASURES FROM THE JIM HENSON COMPANY ARCHIVES
Karen Falk, Archivist, The Jim Henson Company
Upon joining The Jim Henson Company in 1992 as the first full-time archivist, my priorities were clear. There was a small but fascinating collection that had been gathered during the 1980s by one of Jim HensonÂs colleagues and then augmented by the efforts of an enthusiastic Public Relations intern. These materials needed organizing, cataloging and re-housing into archival materials. While these items were important and historically valuable, much more was needed to complete the historical documentation of the company. An aggressive search for additional materials was in order and was begun immediately. I was also eager to implement a computer database system to make the collections more accessible. And, finally, I needed to press the administration for a reasonable space to house the archives as they were, at that point, stored in four different locations on two floors.
With the help of an assistant who was added to the department the following year, I was able to accomplish many of my goals. The archives was up and running, providing reference services to much of the company, particularly the Public Relations department. We were well on our way to creating a historical record of the work of Jim Henson and his creative team.
As I cataloged the existing materials and the newly found files, I was excited by what I saw and read. The information was fascinating and little known by Muppet fans, and the artwork was delightful. I became more and more interested in finding a way to share these treasures with the rest of the company and the public. In particular, I found a large group of Jim HensonÂs files from the 1960s concerning his little-known pre-Sesame Street projects. These files held a wealth of information as well as wonderful character designs and commercial storyboards. Some of this material was included in Christopher FinchÂs 1993 book, Jim Henson: The Works, but there was so much more to say and show. I had always been interested in curating exhibits, but the company had a separate exhibits department that, up until that time, did not generally collaborate with the archives. The opportunity to begin presenting materials from our collections came with the establishment of The Jim Henson Legacy.
The Jim Henson Legacy, a not-for-profit foundation dedicated to perpetuating and celebrating the work of Jim Henson, was created by Jane Henson (JimÂs widow) in response to the overwhelming interest from both the public and private sector to acknowledge JimÂs work with awards and honors. The Legacy, whose board is made up of JimÂs friends, colleagues and family members, has provided representation and supporting materials for numerous awards ceremonies, and it has organized and sponsored many film, video and slide presentations, as well as historical exhibitions. Most of these events occur at museums, libraries and on college campuses.
In late 1993, the Legacy board was approached by the Greenwich (CT) Public Library about creating an exhibit for their gallery. The Henson family had lived in Greenwich from 1964-1971, so it was decided that the exhibit would focus on JimÂs work during that period. I was delighted ø those were exactly the years covered by my newly discovered files. Working with Leslee Asch, director of the companyÂs Exhibits department, we created a multimedia exhibit that combined puppets, photography, historical documents, video and original art. Visitors were able to see JimÂs original designs for Big Bird and Rowlf the Dog, read an editing script from one of his experimental films, and view commercials for LaChoy Chow Mein. It was the first time one of our exhibits addressed this area of JimÂs work, and it was a great success. I was eager to find more opportunities to display materials from the archives.
When the Legacy board expressed interest in doing something historical about Jim during the 1994 International Festival of Puppet Theater (sponsored by The Henson Foundation which supports puppetry companies), I suggested a display concerning JimÂs involvement in puppetry organizations. Using photographs and information gleaned from the archives, we were able to demonstrate JimÂs commitment to and love of the field of puppetry. The display was complemented by video screenings of Jim Henson Presents The World of Puppetry, a documentary series he had produced celebrating six internationally acclaimed puppeteers. After the festival, I continued my efforts to find ways to exhibit materials from the archives.
Jim was a wonderful artist, and his drawings and designs are enchanting. Though created to be transformed into three dimensions, his sketches easily stand on their own as finished work. From the time I began working with his artwork, I wanted to find a way to share it with the public. I often discussed this with Jane Henson, and I expressed my desire to put together a simple show emphasizing JimÂs artistic abilities with the pencil. In 1996, the Legacy agreed to sponsor such a show. The company was very supportive, and they allowed me to devote several months to the project. In April of that year, Jim Henson: Designs & Doodles opened at the National Arts Club in New York. Including art ranging from JimÂs high school days to about 1980, the exhibit received a positive response from both the press and the public, and also from those who knew and worked with Jim. I was gratified to hear from many of his close colleagues that JimÂs sketches were a revelation to them, showing a side of the man that they had not known.
With the success of Designs & Doodles, the archives contributing to the Exhibits department corporate exhibits has become automatic, and we have had more opportunities to do our own. A large part of Designs & Doodles was shown at the University of Maryland (JimÂs alma mater) as part of a larger exhibit. At the same time, we produced a small show on JimÂs involvement in the development of Sesame Street with the National Public Broadcasting Archives (also at Maryland and housing the Archives of ChildrenÂs Television Workshop). The Legacy also has plans to tour Designs & Doodles.
But the best is yet to come. We are currently collaborating with the Exhibits department and the curators of the National Museum of American History in Washington on a Jim Henson/Muppet retrospective to open at the Smithsonian in 1999. Along with our continued work to preserve and document the work of Jim Henson and his company, we now have the opportunity to present materials from our archival collections to a national audience.
Coupled with the archives contributions to The Jim Henson CompanyÂs newly launched website (www.henson.com), these exhibits have proven to be successful venues for sharing Jim HensonÂs creations. They also help The Jim Henson Legacy achieve its goals while providing good exposure and public relations for the company. In the end, by adding exhibits to the archives list of priorities, we have strengthened our position, gaining recognition, support and respect from within and outside the company.
For further information about The Jim Henson Company Archives, please contact us at:
117 East 69th Street
New York, NY 10011
Phone: 212-794-2400
Fax: 212 -570-1147
Archives@henson.com
NEWS FROM THE KELLOGG COMPANY ARCHIVES
Alinda Arnett, Archivist, The Kellogg Company
Like many archives managers, a color scanner, digital camera, and OCR text-retrieval system were pieces of equipment that our archives and records management staff only dreamed of using to manage our collections. Here at The Kellogg Company Archives we are finally living our dream. Let me take you back a few short years agoŽ
The Kellogg Archives was in a static state. The staff included two full-time employees and one part-time person. In addition to the archives, the staff had to manage the inactive records centers and maintain retention schedules. Our in-house database had been changed and updated by many fly-though-the-night people. It was very cumbersome to conduct data entry with numerous different screens to go through, and catalogers had to know abbreviations due to limited lengths of fields. In addition, any new material for the archives was boxed and left out of sight and maybe out of mind. Incoming requests continued to be received on a regular basis and were completed based upon their priority.
Then came the turning pointŽ the Information Services (I/S) department instructed us to find a program to replace the archival database. The archives staff found a system, but to no oneÂs surprise, the program was not satisfactory. The Kellogg Company was changing to the Windows environment, and our selection was not compatible with Windows programming. We requested the I/S departmentÂs assistance to find new software. I/S recommended a new company and included us in with their appropriation. What an opportunity!
We recognize the differences between companies, and now understand how true this is with equipment as well. The archives and records management staffÂs goal wanted to provide our internal clients with access to a digital archives ø we needed a color scanner. The I/S department attended a vendor show and found only one scanner to choose from at that time. We purchased the equipment, but returned the scanner after eight months of trying to produce color images. Starting over, we found there were more scanners to choose from. We compared four different scanners and purchased the cheapest one. How often does that happen?
The scanner accommodated flat objects smaller than 12" x 17", but the staff needed equipment to handle larger documents and three-dimensional items. Initially, we thought a program and camcorder, which could take a snapshot of the items, would be acceptable, however, we were not happy with the quality of the images and began another selection process. Again, we tested four different products and chose a mid-priced digital camera.
With the exception of a few minor glitches, the color scanner has been working very well for the last two years, and we have been using the digital camera for approximately nine months. OCR technology is being tested for implementation during the first quarter of 1998. In addition, we are scheduled to introduce our application to our Battle Creek campus during the first quarter.
Images are scanned at a reduced resolution to decrease the necessary storage space of color images. Currently, images are scanned for research purposes only and not for reproduction. If reproduction is necessary, negatives or slides are made available after requests are approved by the Legal department.
During 1998, a staff of eleven is conducting data entry, scanning images and using digital camera technology to capture and preserve images. We are proud to report that our back- file conversion is scheduled to be completed by December 1999.
