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Cecily Marcus
Bio: Cecily Marcus works as curator of the Givens Collection of African American Literature, the Performing Arts Archives, and the Upper Midwest Literary Archives at University of Minnesota Libraries Archives and Special Collections. She has served as Principal Investigator for numerous performing arts archives-related processing, digitization, and community engagement efforts. She also founded Umbra Search African American History (umbrasearch.org). She has been active in SAA, serving as co-chair of the Awards Committee most recently, has held leadership positions with Dance Heritage Coalition, and serves on numerous advisory boards for national projects.
Statement: I am committed to open access to archival collections, issues related to inclusive metadata practices and research spaces, and contributing to a diverse historical record for the public good. The Performing Arts Section at SAA is an important venue for emerging and established professionals to share challenges and develop collective, ethical practices that change and deepen the impact of our collections, and of the archival profession more broadly. The PA Section has an opportunity to advocate for field-wide efforts around collection development priorities, description, access, technology, and sustainable digital infrastructure. I hope to be a part of leading these conversations and the resulting activities. Thank you for your consideration.
Kimberly Peach
Bio: Kimberly Peach is Lead Archivist and Preservation Specialist with The Winthrop Group, an archival services firm based in New York City. In addition to leading a multi-year processing project of the Congressman Charles B. Rangel papers, Kim has worked with several performing arts organizations including the Eugene O’Neill Theater Center, The John F. Kennedy Center for the Performing Arts and 92nd Street Y. Most recently, Kim planned and now oversees the establishment of The Dramatists Guild of America Archives. She earned a certificate in Preservation Administration from Rutgers University and has managed numerous digitization projects during her career. Kim brings expertise in audiovisual collections from her previous work at George Blood LP and processing the collection of an independent filmmaker.
Statement: As co-chair, I will work to address current PAR membership interests through quality programming with a focus on increasing virtual events throughout the coming year. I’m a strong advocate for knowledge sharing and will prioritize the promotion of creative content through the PAR newsletter and support the continued development of the PAR website as a trusted platform for the exchange of standards, best practices, and tools to empower performing arts archivists.
Chrissy Bellizzi
Bio: Chrissy Bellizzi earned her BA in Percussion and German Literature at Vanderbilt University, and her MLIS at Drexel University. She has enjoyed playing with a number of ensembles around the country, from the Saint Louis Youth Symphony Orchestra, to the award-winning Lansdowne Symphony in Philadelphia. Her career path has included experience in classical music marketing, public librarianship, and special collections. Chrissy is currently the Archive Assistant of the Carondelet Consolidated Archives and the Music Director for Holy Trinity Lutheran Church. In her spare time, she enjoys cooking, gardening, and volunteering as a digital transcriber for the Library of Congress.
Statement: The Performing Arts Section of SAA is the intersection of my professional pursuits and personal interests, and I would be honored to serve on its steering committee. Having completed music undergraduate and library and information science graduate studies, I would provide perspectives and experience from working and volunteering in both professions. My musical pursuits include such varied roles as playing percussion in community orchestras and serving as the accompanist and music director for congregations of different denominations, and through these roles I have accrued unique insights regarding what the arts mean to different communities. Over the years I have developed strong professional bonds and friendships with teachers, librarians, therapists, and other professionals working in the visual and performing arts, and I would gladly make introductions and forge relationships between the Performing Arts Sections and these individuals as appropriate. I am also an active and avid supporter of the arts, and would enjoy contributing to such projects as the livestream and recording list mentioned in the March 23rd news update. I thank you for your consideration, and hope to have the privilege of serving you as a steering committee member.
Laura LaPlaca
Bio: Dr. Laura LaPlaca is Director of Archives & Research at the National Comedy Center in Jamestown, NY. Laura earned a PhD in Screen Cultures in the Department of Radio/TV/Film at Northwestern University. Her work focused on the early history of broadcasting in the United States, and particularly the development of the sitcom genre from the late 1920s to early 1960s. She also holds a master’s degree from Northwestern University’s Dept. of Radio/TV/Film, and bachelor’s degrees in Art History and English Literature from Pepperdine University. During her 10+ years as an archivist of popular culture and media, Laura has led or contributed to processing and preservation efforts at institutions including the Library of Congress, USC-Warner Brothers Archives, and Paley Center for Media. She founded the Northwestern University Radio Archive Project [NURAP] and has served on the boards of the Library of Congress Radio Preservation Task Force and Society for Cinema and Media Studies’ Television Studies Scholarly Interest Group.
Statement: I am an advocate for making archives accessible to all: from young students encountering primary sources for the very first time, to seasoned scholars unearthing new stories, to the general public encountering history, art, and culture from new perspectives. I am invested in digitization, interactivity, and immersive storytelling as they relate to issues of accessibility and engagement – especially in a performing arts context. My work routinely leads me to collaborate closely with artists working in the entertainment industries, as well as students and educators working in the broad field of cultural studies. I look forward to collaborating with the Performing Arts Section to spur conversation and resource-sharing that empowers us to innovate in our field.
