Browse Items (90 total)

This is a scanned newspaper clipping addressed to President Nason and included in the archived folder of President's Office's materials on the "Co-ed Dorm Issue".

This is a photograph of a Carleton student wearing only their underwear in the Little Nourse Theater dressing rooms. This photograph was taken in 1970 during a Theater Marathon.

Pre-production photograph of Al Tinnin as Azdak in the Caucasian Chalk Circle. Al Tinnin was the first African-American student to graduate from Carleton College, and the first African American student to act on stage at Carleton. This was the premiere of the Bertolt Brecht play: The Caucasian Chalk Circle, and it was a student-led production at Little Nourse Theater from May 4th-8th in 1947.

This newspaper article in the Union Recorder (Milledgeville, GA), published in November of 1895, reports on Governor Atkinson's 1895 investigation into Georgia's chain gang system. The report describes 33 convict camps holding 795 people, including both Black and White prisoners and multiple women and girls, some under 14. The article lists daily labor assignments such as farming, sawmilling, brickmaking, turpentine work, and road construction. It notes that prisoners often worked ten hours per day and that racial and gender segregation was rarely enforced in work or sleeping quarters. Although the article frames these conditions as an administrative failure requiring legislative reform, it documents the routine exploitation of forced labor under the misdemeanor convict system.

Interpretation Note
The article presents the chain gang system as an administrative shortcoming rather than as a moral or racial catastrophe, one that can be tidied up with the right legislation. In doing so, it shows how institutional language can blunt the edges of violence and turn brutality into a mere "affair to remedy." The recitation of prisoners' ages, races, and daily tasks tacitly normalizes forced labor and sidesteps the systematic exploitation of Black men, women, and children. The casual mention that women and girls worked the same grueling jobs as men, such as ten hours of brickmaking or road building, while still being expected to cook and clean for the camp, reflects how deeply race and gender dictated the distribution and meaning of labor in these spaces. Following Marlene Manoff's thinking, the article is both a historical object and a product of an archival logic that prefers bureaucratic categories over lived human experience. When read alongside Tonia Sutherland and Zakiya Collier's work on Black archival practices, it becomes clear that records of Black labor were almost always shaped by the state's need to legitimize punishment and control. Drawing on Saidiya Hartman, the archive is shaped by the people who exercised violence, not by those who endured it. What remains are documents produced by captors and officials, which means the record is built from a perspective of power rather than from the lives of those who were exploited.

This source is a section of a New York Times article titled "Mrs. Raushenbush Emerges Unscarred in Sarah Lawrence Confrontation" published on March 23rd, 1969. It details the stance of Sarah Lawrence College President, Mrs. Raushenbush, on student sexuality, emotions, and sex in regard to co-ed dormitories.

This is a photograph of a small painted wall section in Little Nourse Theater showcasing shows such as: Extermities, El Eterno Femenino, and others. The backstage walls of Little Nourse Theater are covered in paintings from most shows performed there, memorializing the title of the show with the names. of the cast and crew. This tradition has started since the 1960s and has continued till today. This particular image focuses on plays that were performed between 1990 and 1991 and are displayed on the wall.

Poem by Sarah M. Sala which addresses invisible illness, physical pain, and coming to terms with being ill. The first section of the triptych comprises nine stanzas which are then repeated and altered in the second and third sections.

Notes taken on the transmission of the Underscore, a loose schedule of a Contact Improvisation gathering ("jam") originally formulated by Nancy Stark-Smith. The Underscore features symbols for different stages of a jam and events that might happen within a dance.