Manufactured by

Unidentified

Subject of

Alpha Kappa Alpha Sorority, Incorporated, founded 1908

Grays, Mattelia B., American

Medium

metal

Dimensions

1 1/16 x 7/8 x 1/8 in. (2.7 x 2.2 x 0.3 cm)

Type

logos

Date

1970

Description

An Alpha Kappa Alpha metal logo with a small metal loop attached to the top. The gold, circular pendant has a gavel embossed at the top. Text underneath the gavel reads “P I N / Personal Involvement Now.”

Topic

African American

Education

Sororities

Women

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Historical Society of Washington, DC and the Alpha Kappa Alpha Sorority, Inc.

Object number

2013.133.2.19

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National Museum of African American History and Culture Collection

Classification

Memorabilia and Ephemera

Data Source

National Museum of African American History and Culture

Manufactured by

Unidentified

Subject of

Alpha Kappa Alpha Sorority, Incorporated, founded 1908

Bernice Sumlin, American, born 1926

Medium

metal

Dimensions

1 1/8 x 7/8 x 1/8 in. (2.9 x 2.2 x 0.3 cm)

Type

logos

Date

1974

Description

An Alpha Kappa Alpha metal logo with a small metal loop attached to the top. The rectangular pendant has brass ivy vines over a yellowish background. At the top of the pendant is “SORORITY.” At the center of the pendant is “A K A” embossed vertically.

Topic

African American

Education

Sororities

Women

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Historical Society of Washington, DC and the Alpha Kappa Alpha Sorority, Inc.

Object number

2013.133.2.20

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National Museum of African American History and Culture Collection

Classification

Memorabilia and Ephemera

Data Source

National Museum of African American History and Culture

Manufactured by

Unidentified

Subject of

Alpha Kappa Alpha Sorority, Incorporated, founded 1908

Barbara Phillips, American, 1938 - 2013

Medium

metal

Dimensions

7/8 x 3/4 x 1/8 in. (2.2 x 1.9 x 0.3 cm)

Type

logos

Date

1978

Description

An Alpha Kappa Alpha metal logo with a small metal loop attached to the top. The pendant is a small circle that has a compass rose at center that divides the pendant’s face into four sections. The left section has a hand holding a diploma, the top section has a scale, the right section has a hand holding a gavel and the bottom section has a domed building.

Topic

African American

Education

Sororities

Women

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Historical Society of Washington, DC and the Alpha Kappa Alpha Sorority, Inc.

Object number

2013.133.2.21

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National Museum of African American History and Culture Collection

Classification

Memorabilia and Ephemera

Data Source

National Museum of African American History and Culture

Recorded by

The Last Poets, American, founded 1968

Owned by

El-Hadi, Suliaman, American, 1936 - 1995

Medium

plastic and tape

Dimensions

H x W x D: 2 9/16 × 4 × 1/2 in. (6.5 × 10.2 × 1.3 cm)

Type

audio cassettes

Place depicted

Auburn, Cayuga County, New York, United States, North and Central America

Date

April 29, 1978

Description

Black cassette tape with white and pink label. Handwritten information appears on both sides of cassette tape. Side 1 of cassette tape has handwritten information reading, [THE Last PoEts & M.P.C. At/AubuRn CoRRECtional Facility/#2/4-29-78]. Side 2 of cassette tape has handwritten information reading, [PoEts & M.P.C.].

Topic

African American

Hip hop (Music)

Prisons

Spoken word (Poetry)

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Qaddafi El-Hadi in memory of Suliaman El-Hadi

Object number

2014.40.6

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National Museum of African American History and Culture Collection

Classification

Media Arts-Audio Recordings

Data Source

National Museum of African American History and Culture

Created by

Unidentified

Owned by

Brown, James, American, 1933 - 2006

Medium

wool, metal

Dimensions

H x W: 61 x 28 in. (154.9 x 71.1 cm)

Type

costume

Date

1970-1989

Description

A black wool jumpsuit with sequined embellishments along the collar and waist. The letter "J" is spelled out with five sequined beads along the front of the collar. Each shoulder has six sequined beads along the top. The word "SEX" spelled out using sequined beads along the mid-section. The word is inside an oval that is also made using sequined beads. A zipper runs down the back.

Topic

African American

Clothing and dress

Funk (Music)

Sexuality

Soul (Music)

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture

Object number

2008.7.4

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National Museum of African American History and Culture Collection

Classification

Clothing-Costume

Exhibition

Musical Crossroads

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 053

Data Source

National Museum of African American History and Culture

creator

Byrd, Charlene Hodges, 1929-2009

name

Bearden, Romare, 1911-1988

Cummings, Ida R., (Ida Rebecca), 1868-1958

Douglass, Frederick, 1817?-1895

Grimke, Francis J., (Francis James), 1850-1937

Hodges, Joyce Ethel Cummings, 1903-1971

Morgan State College.

Shimm, Erminie F., (Erminie Florence), 1867-1936

Shimm, Sarah A., 1843-1885

Thomas, Elizabeth N., (Elizabeth Nelson), d. 1932

Washington, Booker T., 1856-1915

object type

Archival materials

place

Washington (D.C.)

inclusive dates

circa 1750-2009

bulk dates

bulk 1880-1960

Physical description

43 linear feet (35 document boxes and 39 oversize boxes)

Abstract

The Charlene Hodges Byrd collection measures 43 linear feet, and dates from circa 1750-2009, with the bulk of the material dating from 1880-1960. The collection documents the personal life and professional career of Charlene Hodges Byrd, an African American teacher from Washington, D.C., along with material for several related families from Pennsylvania, Maryland, and Washington, D.C. Family members prominently represented include Sarah A. Shimm, teacher and essayist under the name Faith Lichen; her daughters Erminie F. Shimm and Grace E. Shimm Cummings, both teachers; and Byrd's mother, Joyce Ethel Cummings Hodges, also a teacher. Correspondence and writings chiefly discuss family life, religion, race, education, and the relationship with Frederick Douglass and his family. The collection is arranged in 10 series: Biographical Material, Correspondence, Writings, Subject Files, Financial and Legal Records, Printed Material, Volumes, Memorabilia, Textiles, and Photographs.

Preferred Citation note

Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.

Scope and Contents note

Series 1. Papers related to biographical and family histories of the Byrd, Cummings, Davage, Dews, Hodges, Shimm, Spruill, and Thomas families. Material includes family trees; school diplomas and certificates; programs; awards; marriage and divorce papers; funeral documents; and obituaries.

Series 2: Chiefly letters from family and friends regarding family news, financial matters, school, work, neighborhood affairs, church events, travel and the weather. The majority of the letters are addressed to Charlene Hodges Byrd, Grace E. Shimm Cummings, Ida R. Cummings, Elizabeth Dews Hodges, Joyce Ethel Cummings Hodges, Erminie F. Shimm, Sarah A. Shimm, and Elizabeth N. Thomas. Other correspondence includes letters from Booker T. Washington, Bessye Beardon, Charlotte Davage, Amelia Douglass, and Harrell S. Spruill. There are also a number of greeting cards, postcards, and empty envelopes.

Series 3. Writings include essays, speeches, papers written for school, teacher's notebooks, and a diary of Erminie F. Shimm, 1903. Topics include education, Frederick Douglass, religion, race, Africa, and the temperance movement.

Series 4. Subject files on Charlene Hodges Byrd's involvement with Alpha Kappa Alpha Sorority; Book Lovers of Charleston, West Virginia, a women's book club organized in 1923; Church Women United radio program; and The Links, Inc., a volunteer service organization. The papers on Liberia relate to missionary work, and were probably gathered by Erminie F. Shimm; and the Shimm-Thomas Collection are papers related to the deposit and later return of family items housed as a collection at Morgan State College.

Series 5. The financial and legal records include invoices and receipts, bank books, real estate tax assessments, deeds, and wills. There is also material related to the estate of Erminie F. Shimm.

Series 6. Printed materials includes books, pamphlets, newspapers, newsletters, clippings, invitations and programs. The books and pamphlets are chiefly school yearbooks and newspapers and other texts related to religion, politics, music, and poetry. Also included is a copy of Frederick Douglass's autobiography and a printed copy of his speech "The Race Problem." The clippings include obituaries, articles about Charlene Hodges Byrd and her husband Charles R. Byrd, essays by Sarah A. Shimm under the name Faith Lichen, and articles on the assassination of Martin Luther King, Jr. The invitations and programs are primarily for school graduations, weddings, social events, and funerals. Other printed material includes newsletters; business cards; calling cards; postage stamps, chiefly from Liberia; and blank postcards. The binder on Frederick Douglass was prepared by Byrd and her goddaughter for the West Virginia School Studies Fair, and includes copies of Byrd family artifacts.

Series 7. Autograph books, guest books, and scrapbooks. The autograph book of Grace E. Shimm Cummings includes autographs from Amelia Douglass, Lewis B. Douglass, Charles R. Douglass, W. H. Clair, and Francis J. Grimke. The scrapbook of Grace E. Shimm Cummings and Erminie F. Shimm consists primarily of clippings, and was assembled from an old teacher's book with a student registration and punishment pages still intact at the back.

Series 8. Miscellaneous items in the collection including artwork, a coin purse, a piece of handwoven cloth belonging to Catherine Nelson's great grandmother, and leather hair curlers.

Series 9: The textiles are chiefly christening gowns, children's garments, and an apron. Several garments belonged to Joyce Ethel Cummings Hodges, Charlene Hodges Byrd, and Elizabeth N. Thomas. There is also a doll that belonged to Amelia Douglass's niece, Kitty Cromwell.

Series 10. Photographs include pictures of Charlene Hodges Byrd, Joyce Ethel Hodges Cummings, Frederick Douglass, Elizabeth Dews Hodges, Charles Gilmor Cummings, Grace E. Shimm Cummings, Erminie F. Shimm, and other friends and relatives of the Byrd, Hodges, Cummings, Douglass, and Shimm families. Subjects are primarily portraits and candids, along with some wedding, baby, and school pictures. While some of the photographs are annotated, many of the individuals are unidentified. Included are vintage photographs, cabinet cards, cartes-de-visites, tintypes, daguerreotypes, and negatives.

Biographical/Historical note

The Shimm, Thomas, Cummings, Hodges, Davage, and related African American families chiefly lived in Virginia, Pennsylvania, Maryland, and Washington, D.C. Numerous family members worked as teachers, barbers, or in the service industry. They were active in local churches and service organizations, and had established friendships with local church leaders as well as with Frederick Douglass and his family.

The Shimm and Thomas families were located in Virginia, Pennsylvania, Maryland, and Washington, D.C. The Thomas family can be traced back to Philip Nelson, who owned property in Leesburg, Virginia and Philadelphia, Pennsylvania. Family genealogical papers list Nelson as a descendent of British Admiral Horatio Nelson. This lineage, however, is not supported in publically available family histories of Horatio Nelson. Philip Nelson and his wife Araminta had five children: Catherine (b. 1805?), William, Levi (b. 1820?), Henrietta, and Grayson.

Catherine Nelson married Elias E. Thomas (b. 1816?) of Virginia in 1840. They wed in Philadelphia and had five children: Levi Nelson (b. 1841), Sarah (1843-1885), Edward (b. 1844), Elizabeth (1848-1932), and Charles (b. 1851).

Sarah Thomas married William Y. Shimm (b. 1841), a barber in Reading, Pennsylvania, on July 26, 1863. They had 2 daughters, Erminie (1867-1936) and Grace (1865-1910). The Shimms lived in Pennsylvania and Ohio, but had moved to Washington, D.C., around 1871. Sarah was a teacher and a writer who published under the name "Faith Lichen." Her writings, primarily essays and commentaries about race and politics, were printed in several newspapers including The National Republican, The Celtic Weekly, The People's Advocate, and The Sunday Morning Gazette.

Sarah's sister Elizabeth was also a teacher in Maryland. Her brother Charles was a lawyer in Washington, D.C., and a graduate of the first class at Howard University's law school.

Erminie and Grace Shimm became teachers in the Washington, D.C., public school system. Erminie was active in her church and supportive of missionary work in Liberia. Grace married Charles Gilmor Cummings, a pastor in Alexandria, Virginia, on July 9, 1902. They had one daughter, Joyce Ethel (1903-1971), and second child in 1905 who died in infancy. Grace died in 1910 of heart failure. After her death, Grace's sister Erminie and Charles's family helped raise Joyce Ethel in Washington, D.C., and Baltimore, Maryland.

Joyce Ethel Cummings Hodges graduated from Morgan College in 1924, and received her master's degree from Howard University in 1931. She taught at Douglass High School in Baltimore from 1924-1964. Joyce Ethel married Charles E. Hodges (1900--975) in 1927 and they divorced in 1953. The couple had one daughter, Charlene (1929-2009).

Charlene Hodges Byrd grew up in Washington, D.C., but attended the Northfield School for Girls in East Northfield, Massachusetts, for high school, graduating in 1946. She received her bachelor's degree from Connecticut College in 1950, and her master's degree in English Language and Literature from the University of Chicago in 1951. She married Charles R. Byrd (1919-2004) in 1952. They had one son in 1954, but he died four days after birth. Byrd soon began a career as a teacher and education administrator, eventually working for Kanawha County Schools in Charleston, West Virginia. She was also active in her local community as a member of the Book Lovers of Charleston, West Virginia; Church Women United; and The Links, Inc.

Charles E. Hodges was born Bridgewater, Virginia, where his father was a minister. He graduated from Morgan College in 1923 and received his master's degree from the University of Pennsylvania in 1943. He was a teacher and served as principal of the North Street School in Hagerstown, Maryland. After he and Joyce Ethel divorced in 1953, he married Elizabeth Dews (1913-1999) in 1955.

Elizabeth Dews Hodges, born Elizabeth Virginia Waumbeeka, was adopted by James Edward (1889-1954) and Sarah Virginia Dews (1888?-1964) in Washington, D.C., in 1920. She graduated from Miner Teachers College in 1939, and worked as a teacher in Annapolis, Maryland, at Wiley H. Bates High School for 34 years. She was awarded a medal for her work there by the Freedom Foundation of Valley Forge in 1959. Elizabeth was active in local organizations in Maryland and Washington, D.C., including the SE/NE Friends of the Capitol View Branch Library; Eastern Star Chapter 4; Mount Ephraim Baptist Church; National Museum of Women in the Arts; National Association for the Advancement of Colored Peoples; and the Columbia Lighthouse for the Blind.

The Davage family is descended from Sidney Hall (b. 1818?) and Charles Davage (b. 1815?). Sidney was a former slave at the Perry Hall mansion in Baltimore, and was manumitted by 1840. She married Charles, a coachman, on April 12, 1842. They had five children: Eliza Jane (1843-1913), Sophia (b. 1847), Charlotte (b. 1849), Charles (b. 1854), and Hester (b. 1845). Their daughter Eliza Jane married Henry Cummings (b. 1830?). They had seven children: Harry Sythe (1866-1917), Charles Gilmor (1870-1924), William (b. 1882), Ida R. (1868-1958), Estelle (1874-1944), Carroll (b. 1875), Francis (b. 1872), and Aaron (1864?-1932).

Harry Sythe Cummings, a lawyer in Baltimore, became the city's first African American City Council member. He was first elected in 1890 and served intermittently until his death in 1917, often working on issues related to education. Cummings also delivered a speech at the Republican National Convention in 1904 seconding the presidential nomination of Theodore Roosevelt. He married Blanche Conklin in 1899, and they had three children: Harry S. Jr. (b. 1905), Lucille (d. 1906), and Louise.

Charles Gilmor Cummings graduated from Drew Theological Seminary in 1898, and was a pastor in Alexandria, Virginia and elsewhere. After the death of his wife Grace in 1910, he married Rosa Catherine Bearden, grandmother of artist Romare Bearden, in 1912.

Ida R. Cummings graduated from Morgan College in 1922, and was the first African American kindergarten teacher in Baltimore. She was also active in local organizations, and was president of the Colored Fresh Air and Empty Stocking Circle; chairman of the Woman's Section Council of Defense in Baltimore during the World War, 1914-1918; and president of the Woman's Campaign Bureau of the Colored Republican Voters' League of Maryland.

Conditions Governing Access note

Access to collection requires appointment.

topic

African American churches

African American educators

African American families

African American newspapers

African American women journalists

African American--Social life and customs

African Americans--Education

African Americans--Maryland

African Americans--Pennsylvania

African Americans--Photographs

African Americans--Washington (D.C.)

smithsonian online virtual archive

Record

Data source

National Museum of African American History and Culture

creator

Ailey, Alvin

Mitchell, Jack, 1925-

name

Wood, Donna, 1954-

DeLoatch, Gary, 1953-1993

Jamison, Judith

Allen, Sarita

Chaya, Masazumi

Truitte, James

DeLavallade, Carmen , 1931-

Williams, Dudley

Tyson, Andre

Roxas, Elizabeth

object type

Archival materials

inclusive dates

1961-2004

Physical description

16 linear feet

Abstract

Jack Mitchell (1925- 2013) was an acclaimed photographer who began chronicling the work of the Alvin Ailey American Dance Theater in 1961. Alvin Ailey (1931- 1989), one of the most influential African American choreographers of modern dance, dedicated himself and his dance company to creating ballets that not only accelerated the careers of young African American dancers, but also stole the attention of national and international audiences in displaying the racial perspective of dance in the African American experience. This collection serves as Mitchell's documentation of the dance company's evolution while capturing the true idiosyncrasies and physicality of movement through still images. Through Alvin Ailey and Jack Mitchell's partnership, they were able to collaborate and produce a unique production of art, fusing the meaning and movements of dance and the techniques of photography.

Preferred Citation

Photography by Jack Mitchell © Alvin Ailey Dance Foundation, Inc. and Smithsonian Institution, All rights reserved.

Conditions Governing Access

Collection is open for research. Access to collection materials requires an appointment.

Scope and Contents

The Jack Mitchell Photography of Alvin Ailey American Dance Theater Collection is comprised of approximately 10,000 black and white prints of solo and ensemble acts, portraits of principle dancers and various associates of the company, color slides and transparencies for private photo sessions and performances, black and white film strips and their corresponding contact sheets, and reference materials.

Biographical / Historical

Jack Mitchell was born on September 13, 1925 in Key West, Florida. Although he was not in the field of photography, Mitchell's father bought him his first camera when Jack was a teenager. His first published photograph was of actress, Veronica Lake, for a War Bond Tour, a tour issued by the government that promoted debt securities to soldiers to finance military operations and expenditures He enlisted in the United States army and became a photographer in Italy at the end of World War II. In 1949, Ted Shawn, a dancer and choreographer who is respected among the dance community as a pioneer of American modern dance, invited Mitchell to Massachusetts photograph his dancers at his dance center, Jacobs's Pillow. It was during this time where Mitchell's interest and appreciation for moving bodies was realized. In the lifespan of his career, Mitchell created over 150 covers for Dance Magazine1, the New York Times, Time, Life, Newsweek, Rolling Stone, Vanity Fair, and Vogue.2

As Jack Mitchell started to photograph the poses and ballets of the American Ballet Theater throughout the late 1950s, Alvin Ailey saw some of Mitchell's photographs. By 1961, Mitchell had established himself as a distinguished photographer of dance, coining the term, "moving stills". His photographs became the benchmark and standard that other dance photographers measured their work. In November 1961, Ailey invited Mitchell to a performance space in Clark Center, NY, and with his dancers, they performed for Mitchell's camera; some of the photographs from that first photo session can be found in this collection.

Alvin Ailey was born on January 5, 1931 in in Rodgers, Texas, during the Great Depression. As his repertory reflected, the beginning of his life was defined by a tight-knit, predominantly African American folk culture. At age 12, Ailey and his mother, Lula Cooper, moved Los Angeles, California. It is here that he was exposed to the Ballet Russe de Monte Carlo, which led him to study under the Lester Horton Dance Theater, where he danced with Carmen DeLavallade, James Truitte, and Joyce Trisler. After 3 years of performing and training, he was positioned as a choreographer and later became the director of the company when Lester Horton suddenly died in 1953. His influence from Lester Horton, Martha Graham, and Katherine Dunham help to establish his philosophy that "Everything in dancing is style, allusion, the essence of many thoughts and feelings, the abstraction of many moments. Each movement is the sum total of moments and experiences".3 After Horton's death, Ailey went to perform at Ted Shawn's Jacob's Pillow Dance Festival, and then on to New York with his longtime schoolmate and fellow dancer, Carmen DeLavallade, to perform in the 1954 Broadway production of "House of Flowers". The Alvin Ailey American Dance Theater Company was established in 1958.

From the beginning of his journey as a dancer and choreographer, Ailey wanted to show African American experience in his performances. He embedded folk culture in his early works "Revelations" and "Blue Suites". In reflection, before his first South Asian Tour, Alvin expressed, "The cultural heritage of the American Negro is one of America's richest treasures. From his roots as a slave, the American Negro- sometimes sorrowing, sometimes jubilant but always hopeful -has touched, illuminated, and influenced the most preserved of world civilization. I and my dance theater celebrate this trembling beauty."4 "Revelations" was well- received by national and international audiences, Ailey recognized by the dance community as a choreographer with promise and his company and ballets he created were highly anticipated. By 1965, Ailey went from being a dancer to being the company's choreographer. From the onset, Ailey embraced diversity and invited interracial and interdisciplinary perspectives at of the company. He also created ballets for other notable companies including the American Ballet Theatre, Royal Danish Ballet, London Festival Ballet, the Joffrey Ballet, Paris Opera Ballet, and LaScala Opera Ballet.5 He was invited to choreograph Samuel Barber's Anthony and Cleopatra for the Metropolitan Opera at Lincoln Center in 19666, and Leonard Bernstein's Mass for the Kennedy Center for the Performing Arts in 1971.7

As the company embraced racial diversity, Ailey never lost his sense of obligation to the African American community. In 1969, he established the Alvin Ailey American Dance Center, which became the Ailey School, formed the Alvin Ailey Repertory Ensemble, and pioneered programs promoting arts in education, particularly those that benefitted deprived communities. Among his numerous distinctions were the Dance Magazine Award (1975), the NAACP Spingarn Medal (1976), given for "the highest and noblest achievement by an American Negro during the previous year or years"8 , the Samuel H. Scripps American Dance Festival Award (1987), the most prestigious award for modern dance for a lifetime contribution to the field, the Kennedy Center Award (1988) and Honorary Doctorates from Princeton University (1972)9 , Bard College (1977)10 , and Adelphi University (1977). President Barack Obama posthumously awarded Ailey the Presidential Medal of Freedom in 2014, the country's highest civilian honor, in recognition of his contributions and commitments to civil rights and dance in America.11

Through Jack Mitchell and Alvin Ailey's work, they were able to collaborate and create something "rich in historical connotations, the liveliest kind of permanent record of the works of important creators and creations that formed the nucleus of Ailey's remarkable vision of American dance and what it could be"12. Alvin Ailey's reputation for creating eclectic dance methods produced movements and poses that are still studied and idolized today. Mitchell was able to pay homage to many of the world's best dance artists from James Truitte, Carmen DeLavallade, Dudley Williams, Donna Wood, Renee Robinson, Gary DeLoatch, as well as Ailey, through his photography. With Ailey's longstanding and established stature within the dance community, and Mitchell's pronouncement of the detailed through his use of lighting in his photographs, this collection highlights the incredible collaboration between Ailey and Mitchell, and serves as a unique document of one of the world's most renowned American dance company's.

Alvin Ailey's vision for a dance company was dedicated to enriching the American modern dance heritage and preserving African American culture. In a 1989 interview with Dance Magazine, shortly before his death, Ailey discussed how he took pride in knowing that "No other company around [today] does what we do, requires the same range, and challenges both the dancers and the audience to the same degree." Ailey searched for a collaborator that would help him display the value of communicative movement; he found his match in Mitchell. Ailey's influence went beyond the stage and Jack Mitchell's images in this collection document that evolution. With Alvin Ailey's passing in 1989 at age 58 and Jack Mitchell's death in 2013 at age 88, these photographs of Alvin Ailey American Dance Theater Collection serves as one of the few sources of this dynamic dance company, from its early days to an internationally recognized troupe.

Footnotes: Footnotes, Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), viii, Bruce Weber, "Jack Mitchell, Photographer of the Arts, Dies at 88", The New York Times Obituaries (November 9, 2013):http://www.nytimes.com/2013/11/10/arts/jack-mitchell-photographer-of-the-arts-dies-at-88.html, Jennifer Dunning, Alvin Ailey: A Life in Dance. (New York; Addison- Wesley, 1996), 123, Ibid, 146., Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York: Birch Lane, 1995), 6-7., Alvin Ailey, Revelations: The Autobiography of Alvin Ailey. (New York; Birch Lane, 1995), 7., Ibid., Ibid., Dunning, Jennifer. Alvin Ailey: A Life in Dance. (New York: Addison-Wesley, 1996), 286., "Bard College Catalogue 2016-17: Honorary Degrees": http://www.bard.edu/catalogue/index.php?aid=1203992&sid=670122, Office of the Press Secretary, "President Obama Names Recipients of the Presidential Medal of Freedom" (November 10, 2014): https://www.whitehouse.gov/the-press-office/2014/11/10/president-obama-names-recipients-presidential-medal-freedom, Jack Mitchell. Alvin Ailey American Dance Theater: Jack Mitchell Photographs. (Kansas City: Andrews and McMeel, 1993), ix.

topic

Dancers -- Photographs

Alvin Ailey American Dance Theater

Choreography -- United States

Dance

Dance schools -- United States

Dance -- Production and direction

Dance companies

Dance -- North America

smithsonian online virtual archive

Record

Data source

National Museum of African American History and Culture

Designed by

Holder, Geoffrey, Trinidadian American, 1930 - 2014

Created by

Grace Costumes Inc., founded 1966

Worn by

Taylor, Clarice, American, 1917 - 2011

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

Gown: synthetic fiber, satin, velvet, net, and metal

Petticoat: synthetic fiber

Jacket: synthetic fiber, satin, velvet, sequins, rhinestones, and metal

Type

ensembles (costume)

Place used

New York City, Manhattan, New York, United States, North and Central America

Date

1975

Description

This costume is comprised of three (3) pieces, a teal and blue gown, a petticoat, and a matching jacket worn by Clarice Taylor as Addaperle in "The Wiz: The Super Soul Musical 'Wizard of Oz'" on Broadway.

Topic

African American

Clothing and dress

Costume

Musical Theatre

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.10

Restrictions & Rights

No Known Copyright Restrictions

See more items in

National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Data Source

National Museum of African American History and Culture

Designed by

Holder, Geoffrey, Trinidadian American, 1930 - 2014

Worn by

Taylor, Clarice, American, 1917 - 2011

Created by

Grace Costumes Inc., founded 1966

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

synthetic fiber, satin, velvet, net, and metal

Dimensions

H x W x D (On form (a)): 62 1/4 × 27 1/2 × 24 in. (158.1 × 69.9 × 61 cm)

H x W x D (In box (a)): 60 × 22 3/4 × 8 1/2 in. (152.4 × 57.8 × 21.6 cm)

L x W x D (from center back bodice with train extended (a)): 71 in. (180.3 cm)

H x W x D (In box (b)): 32 × 22 × 8 in. (81.3 × 55.9 × 20.3 cm)

Waist (at widest point (b)): 34 in. (86.4 cm)

Type

gowns

Place used

New York City, Manhattan, New York, United States, North and Central America

Date

1975

Description

This teal and blue floor-length gown and purple petticoat are part of a costume worn by Clarice Taylor as Addaperle in "The Wiz: The Super Soul Musical 'Wizard of Oz'" on Broadway. The sleeveless gown (a) has a fitted bodice and a full skirt with a ruffled hem and short train, and is decorated in a patchwork style with pieces of blue, teal, green and purple fabrics. The petticoat (b) is made of a multi-layered purple synthetic taffeta.

The bodice of the gown is made of teal satin synthetic fiber lined with drill. The bodice is sleeveless, fitted, and has an open scoop neck. Two (2) patches of velvet, one dark blue and one dark teal, are hand-sewn to the center front of the bodice. The interior front of the bodice has five (5) pieces of boning tape sewn lengthwise from top to waist, but the boning has been removed from all but the two outermost tapes.

The skirt of the gown is floor-length and very full, lengthening in the back with a short train. Teal satin synthetic fiber is sewn in box pleats to the bodice at the waist. The skirt has several large patches of fabric machine-sewn in a random pattern to the teal ground using a zigzag stitch. The patches are of dark blue velvet, dark teal velvet, light green satin and medium green satin. Some of the light green patches are sewn so that the wrong side of the fabric is facing out. Additionally, there are four (4) "envelopes" attached to the skirt, which are white satin rectangles with flaps trimmed in blue ribbon to look like mailing envelopes. The envelopes are only attached along the bottom and the sides, leaving the top open as a pocket. Two envelopes have Velcro closures, making them function as additional pockets. There are three (3) white gloves sewn to the skirt at the wrists and fingertips, each of which is stuffed with foam. A flounce made of medium teal synthetic fiber, trimmed at the top edge with purple velvet and at the bottom edge with purple grosgrain ribbon, is sewn along the bottom of the skirt. The skirt is not lined, but there is a net underskirt with a ruffled hem doubled over and attached across the back interior of the skirt. The interior waistband of the skirt is made of a white grosgrain ribbon that closes at the center back with a hook on the proper right back and two eyes for adjustable fit on the proper left back. A silver zipper begins below the waist of the center back skirt and ends at the top of the bodice neck. A hook-and-eye closure is sewn above the zipper at the center back neck.

The petticoat (b) is made of a multi-layered purple synthetic taffeta. Like the gown, it is shorter in front. Two tiers of ruffles are sewn at the hemline, each edged in synthetic net stiffener. The waistband is adjustable with hook and eye fasteners, including six (6) eyes ranging from 29 - 34" waist. As an alteration, one (1) additional eye was sewn onto the waistband at 25".

Topic

African American

Clothing and dress

Costume

Musical Theatre

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.10.1ab

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Data Source

National Museum of African American History and Culture

Designed by

Holder, Geoffrey, Trinidadian American, 1930 - 2014

Created by

Grace Costumes Inc., founded 1966

Worn by

Bridgewater, Dee Dee, American, born 1950

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

Dress: synthetic fiber, net (textile), and chiffon

Headdress: synthetic fiber, straw, wire, rhinestones, and metal

Dimensions

On form - dress with train (a) with hat (b): 92 × 50 × 28 in. (233.7 × 127 × 71.1 cm)

Type

ensembles (costume)

Place used

New York City, New York County, New York, United States, North and Central America

Date

1975

Description

This costume is comprised of two (2) pieces, a gown and an accompanying headdress, worn by Dee Dee Bridgewater as the character Glinda in the Broadway production of "The Wiz".

Topic

African American

Clothing and dress

Costume

Musical Theatre

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.11

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Data Source

National Museum of African American History and Culture

Designed by

Holder, Geoffrey, Trinidadian American, 1930 - 2014

Created by

Grace Costumes Inc., founded 1966

Worn by

Edmead, Wendy, American, born 1956

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

chiffon, crepe, muslin, passementerie, metal, and elastic

Dimensions

H x W x D (In box): 59 × 22 1/2 × 2 3/4 in. (149.9 × 57.2 × 7 cm)

H x W x D (On form): 61 × 28 × 15 1/2 in. (154.9 × 71.1 × 39.4 cm)

Type

jump suits

Place used

New York City, Manhattan, New York, United States, North and Central America

Date

1975

Description

This jumpsuit is part of a costume worn by Wendy Edmead as a Quadling in "The Wiz: The Super Soul Musical 'Wonderful Wizard of Oz'" on Broadway. The jumpsuit is made from a diaphanous, coral-colored synthetic fabric. The bodice of the jumpsuit and its lower section attach only at the center front, leaving exposed the sides of the wearer's stomach and lower back.

The bodice of the jumpsuit is made of a coral crepe synthetic fiber that is covered in pleated coral chiffon synthetic fiber. The full length sleeves are made of the same coral chiffon fabric, which has been ironed into an accordian pleat and cut in a flared trumpet shape. Elastic loops are attached to the wrist area of each sleeve. The bodice is lined in plain muslin, and closes at the center back with a zipper and a hook-and-eye closure at the neck.

On the lower section of the jumpsuit, coral chiffon synthetic fiber attaches at the waist and reaches to the ankles to form wide-legged, accordian-pleated pants. There is a bikini bottom attached to the waistband. The bikini bottom is a coral crepe synthetic fiber on the recto, lined in plain muslin on the verso, and has an open crotch. This lower section of the jumpsuit closes at the center back with a zipper and a hook-and-eye closure at the waist. A length of coral tape is sewn in a loop at the interior proper left and proper right sides.

Coral passementerie is sewn to the bottom edge of the bodice, forming an x at the center front attachment, and continuing along the top edge of the pants. Two (2) metal discs, each stamped with a head in profile and surrounded by a circle of five-pointed stars, are sewn to the top and bottom of the x and at the center front attachment. Coral tasseled fringe is sewn along the collar line of the bodice and at the hip line of the lower section of the jumpsuit, below the passementerie decoration. Stamped metal discs are sewn all along the fringe at the collar and the hip.

Topic

African American

Clothing and dress

Costume

Musical Theatre

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.12

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Data Source

National Museum of African American History and Culture

Designed by

Dearing, Judy, American, 1940 - 1995

Worn by

Beverley, Trezana, American, born 1945

Subject of

Dr. Shange, Ntozake, American, born 1948

Black Fashion Museum, American, 1979 - 2007

Medium

synthetic satin and crepe with metal closures

Dimensions

H x W x D (on form): 61 × 26 1/4 × 17 in. (154.9 × 66.7 × 43.2 cm)

Type

dresses

Place used

New York City, Manhattan County, New York, United States, North and Central America

Date

1976-1978

Description

Sleeveless dress costume for the character Lady in Red from the original Broadway production of Ntozake Shange's choreopoem "for colored girls who have considered suicide / when the rainbow is enuf." The dress is made from red satin synthetic fabric with the crepe finished wrong side facing. The bodice has a sweetheart neckline, scooped back, and front shaping with princess darts, ending at the natural waistline. The neckline and armholes are edged with the red satin, with the shiny satin side facing. There is a length of self-fabric piping around the waist, again with the shiny satin side facing. The full circle skirt falls at the knee and is hemmed with serged stitching in black thread. The dress closes at the center back with a metal zipper, with two (2) small metal hook-and-eye fasteners, one at the top of the back and the second at the waist. There is a length of black grosgrain ribbon sewn to the interior proper right waist with a large metal eye on the end, which closes with a large metal hook sewn to the interior proper left waist just inside the zipper. The bodice is lined with red synthetic satin, while the skirt is not lined.

Topic

African American

Broadway Theatre

Clothing and dress

Costume

Poetry

Women

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.35

Restrictions & Rights

No Known Copyright Restrictions

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National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Exhibition

Taking the Stage

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054

Data Source

National Museum of African American History and Culture

Designed by

Dearing, Judy, American, 1940 - 1995

Worn by

Collins, Risë

Subject of

Black Fashion Museum, American, 1979 - 2007

Dr. Shange, Ntozake, American, born 1948

Medium

synthetic satin and crepe with metal closures

Dimensions

H x W x D (On form): 40 3/4 × 17 × 14 1/2 in. (103.5 × 43.2 × 36.8 cm)

Type

dresses

Place used

New York City, Manhattan County, New York, United States, North and Central America

Date

1976-1978

Description

Sleeveless dress costume for the character Lady in Purple from the original Broadway production of Ntozake Shange's choreopoem "for colored girls who have considered suicide / when the rainbow is enuf." The dress is made from purple satin synthetic fabric with the crepe finished wrong side facing. The bodice has a sweetheart neckline, scooped back, and front shaping with princess darts, ending at the natural waistline. The neckline and armholes are edged with the purple satin, with the shiny satin side facing. There is a length of self-fabric piping around the waist, again with the shiny satin side facing. The full circle skirt falls at the knee and is hemmed with a chain stitch in purple thread that is covered with serged stitching in pink thread. The dress closes at the center back with a metal zipper, with two (2) small metal hook-and-eye fasteners, one at the top of the back and the second at the waist. There is a length of cream grosgrain ribbon sewn to the interior proper right and left back waist with a single metal hook-and-eye closure on the ends of the ribbon. The bodice is lined with purple synthetic satin, while the skirt is not lined. There are two (2) male metal snaps, one at each front armhole interior, sewn over the seam of the bust dart; there is no evidence of the corresponding female sides of these snaps.

Topic

African American

Broadway Theatre

Clothing and dress

Costume

Poetry

Women

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.36

Restrictions & Rights

No Known Copyright Restrictions

See more items in

National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Exhibition

Taking the Stage

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054

Data Source

National Museum of African American History and Culture

Designed by

Dearing, Judy, American, 1940 - 1995

Worn by

Dr. Shange, Ntozake, American, born 1948

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

synthetic satin and crepe with metal closures

Dimensions

H x W x D (on form): 43 1/2 × 15 × 15 in. (110.5 × 38.1 × 38.1 cm)

Type

dresses

Place used

New York City, Manhattan County, New York, United States, North and Central America

Date

1976-1978

Description

Sleeveless dress costume for the character Lady in Orange from the original Broadway production of Ntozake Shange's choreopoem "for colored girls who have considered suicide / when the rainbow is enuf." The dress is made from orange satin synthetic fabric with the crepe finished wrong side facing. The bodice has a sweetheart neckline, scooped back, and front shaping with princess darts, ending at the natural waistline. The neckline and armholes are edged with the orange fabric, with the shiny satin side facing. There is a length of self-fabric piping around the waist, again with the shiny satin side facing. The full circle skirt falls at the knee and is hemmed with serged stitching in orange thread. The dress closes at the center back with a metal zipper, with two (2) metal hook-and-eye fasteners, one at the top of the back and the second at the waist. There is a length of cream grosgrain ribbon sewn to the interior proper left waist with a large metal eye on the end, which closes with a large metal hook sewn to the interior proper right waist just inside the zipper. The bodice is lined with orange synthetic satin, while the skirt is not lined. There are six (6) male metal snaps, three at each armhole interior; there is no evidence of the corresponding female sides of these snaps.

Topic

African American

Broadway Theatre

Clothing and dress

Costume

Poetry

Women

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.37

Restrictions & Rights

No Known Copyright Restrictions

See more items in

National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Exhibition

Taking the Stage

On View

NMAAHC (1400 Constitution Ave NW), National Mall Location, Culture/Fourth Floor, 4 054

Data Source

National Museum of African American History and Culture

Designed by

Travilla, William, American, 1920 - 1990

Worn by

Carroll, Diahann, American, born 1935

Subject of

Black Fashion Museum, American, 1979 - 2007

Medium

taffeta, chiffon, rayon thread, lace, and metal closures

Dimensions

H x W x D (Dress on form): 61 × 26 1/4 × 17 in. (154.9 × 66.7 × 43.2 cm)

Type

dresses

Place used

United States, North and Central America

Date

1968-1971

Description

Dress worn by Diahann Carroll as the character Julia Baker on the television show "Julia." The pink and cream dress is a full-length, long-sleeved gown with a high neck. A sleeveless bodice and full skirt made from pink taffeta is overlaid with a double layer of pale cream chiffon, with the chiffon covering the entire skirt and forming the upper bodice and sleeves. Large floral sprays are machine embroidered in cream thread on the chiffon. The hem of the skirt, the cuffs of the sleeves, and the neck are edged with cream lace in an openwork design. The dress closes with a zipper at the center back. The cuffs and the neck fasten with metal hook-and-eye closures, two (2) at each cuff and three (3) at the center back neck. There is a pale pink satin belt with a self fabric-covered decorative buckle at the high waistline that closes with three (3) metal snaps and three (3) metal hook-and-eyes.

The pink lower bodice and skirt of the dress are self-lined, with an additional paler pink petticoat attached under the lining of the skirt. The upper bodice is lined with a brown net, giving a darker hue to this section of the gown under the chiffon overlay. The sleeves are not lined.

Topic

African American

Clothing and dress

Costume

Sitcoms

Credit Line

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Black Fashion Museum founded by Lois K. Alexander-Lane

Object number

2007.3.38

Restrictions & Rights

No Known Copyright Restrictions

See more items in

National Museum of African American History and Culture Collection

Collection title

Black Fashion Museum Collection

Classification

Clothing-Costume

Data Source

National Museum of African American History and Culture