What makes this night different from all other nights? That’s a good question, and one that has been asked by generations of children celebrating the Passover or Pesah, the Festival of Spring. According to the Reuben family’s 1958 copy of The Jewish Home Beautiful, “Pesah tells of the rebirth of a nation, the redemption from slavery to freedom, the restoration to the disinherited among men of their God-given rights to life and liberty. […] Pesah is so called because of the Biblical account regarding the angel of Death who passed over the homes of the Israelites” (28).
Sandra Reuben recalls Passover fondly in her article, “Recollections of Growing up Jewish in Forest City, Iowa”:
“My Mother, Lillian Reuben, usually hosted our extended Iowa family for seders in Forest City. . . With my Dad and two sisters, Marlene and Joanie, we fit 16 people around tables that filled the entire living room. Then add Jenny and Meier Friedman, the only other Jews in our small “Norwegian” city. It was a challenge for my Mother to cook the traditional foods as Forest City had no stores that carried Passover foods. The matzo, matzo meal and other foods were brought from the Kropman grocery store in Mason City. . .some 30 miles away. Grandma came from Mason City to help Mother make gefilte fish from scratch, clean and roast the chickens, make the haroses, simmer the chicken soup band matzo balls and produce the rest of the traditional dishes. Years later my cousin Elinor (Elly) remembers these seders as an important foundation for our Jewish family.”
Reuben’s account of the Passover seder is not so unusual for residents of Iowa in the 1950’s. To this day, Jewish communities still make up a relatively small percentage of the overall Iowa population, but this has not deterred the traditional celebrations from taking place with ample amounts of attention and preparation. Throughout Iowa history, Jewish women have played important roles in community and family life, maintaining cultural and religious traditions, working in businesses and on farms, and participating in civic life. The documents and images included here were gathered from 2014-2017 as part of the Jewish Women in Iowa project at the Iowa Women’s Archives.
This post and poem were written by Zayetzy Luna Garcia, student worker at the Iowa Women’s Archives
Family unity is the center of Latinx culture. It is our base, our guide and our future. However, sometimes, we forget the glue that really keeps our family together: our mothers. While today is not Mother’s Day, it is International Women’s Day and being a mother is a challenge many women still choose to take on today. To celebrate the strength and beauty of Latinx women in Iowa, we present to you some excerpts and photos from the Migration is Beautiful website at the Iowa Women’s Archives in the University of Iowa Libraries.
Despite her years of experience, many factories dismissed her applications. When she applied to work at International Harvester’s Farmall tractor plant, they refused her application on the basis that they believed Mexican women were too short to work on the assembly line.
“We joined the craft club and then afterwards I can’t remember who the director was and they asked me if I’d be on the board…I was the only Mexican…All the clubs, like my sewing guild, my quilt guild, the PTA, we went wherever the Mexican people just did not. “
“We were the first multi-cultural doctor’s office,” Mary remembered. “He was black and I was brown. And we serviced everybody, pink, yellow, blue, whatever color. We had the first bilingual medical practice that I know of here in Des Moines.”
These women took head on the challenge of being Latina in place and time where being a brown woman was not easy. Not only did they persistently fight for their own rights, but they instilled a sense of justice, compassion and honor into their children who would go on to continue fight for women’s and Latinx rights in Iowa and across the country.
These are just a few stories of our hidden Latina history in Iowa. Feel free to continue to be inspired by reading more amazing Latina stories at the Migration is Beautifulwebsite.
Today we’re celebrating National Girls and Women in Sport Day! Since it was inaugurated in 1987 by a Presidential Proclamation, NGWSD has recognized the on and off-field achievements of female athletes, from girls active in school and community sports to elite international athletes.
[side note–if you’re not already following our #WPAscrapbook project about a 1930s Work Project Administration photographer who documented women’s recreation at the University of Iowa, join us in February as we document this exciting find]
But February is also Black History Month, and opening ceremonies for the 2018 Winter Olympics kick off this week, so we wanted to share materials from the Nadine Domond Papers, which were donated by Domond in 2001. Check out our Twitter and Tumblr channels for more objects from the Domond Papers.
A Connecticut native and the top-ranked guard in the country, Domond made headlines in 1994 when she chose to play basketball at the University of Iowa.
In her freshman season (1994-1995), Domond played on the last team coached by legendary women´s basketball coach C. Vivian Stringer during her time at the University of Iowa. For the next three years, under head coach Angie Lee, Domond and the Hawkeyes won a Big Ten Championship and made it to the 1996 NCAA Tournament’s Sweet Sixteen round.
During this time, Domond also played for various USA Basketball teams, including the squad that won the silver medal in the 1997 Jones Cup. Domond graduated from the University of Iowa in 1998 with a degree in African American World Studies and Instructional Design. As of 2017, Domond held the number five spot in all-time Hawkeye women´s three-point shooting.
Domond was the nineteenth-overall pick in the Women’s National Basketball Association’s (WNBA) 1998 draft, which was the WNBA’s second draft.
After a professional career overseas, she because the Head Coach for Grambling State’s women’s basketball team before joining longtime-Iowa coach Vivian Stringer at Rutgers University, where Domond now works as an Assistant Coach.
Thank you, Nadine, for letting the Iowa Women’s Archives be part of sharing your story and amazing accomplishments. And as we get ready to kick off another Olympic Games, we’ll let Nadine have the last word.
One of our graduate student workers spent last semester processing additions to IWA’s University of Iowa Department of Physical Education for Women collection. The new material included everything from Women as Leaders conference records to faculty publications. But one item in the new material surprised us–a scrapbook from the 1930s with “Work Projects Administration” inscribed on the inside cover.
One of Franklin Delano Roosevelt’s New Deal economic stimulus programs, the Works Progress Administration (WPA, renamed the Work Projects Administration in 1939) made significant contributions to American infrastructure in the 1930s, building roads, bridges, and the University of Iowa’s original Theatre Building.
Federal Project Number One, a subset of the WPA, provided employment for artists, actors, writers, directors, and musicians by sending them to local communities across the United States, including Iowa City and towns.
Research on the scrapbook continues, but we are excited about this find and wanted to share these images with those who aren’t able to visit the Archives in person. So stay tuned to our social media channels (Twitter and Tumblr) in February, as we dive into this scrapbook together and see how an unknown WPA photographer documented women’s physical education at the University of Iowa.
A few sneak previews:
The 2017-2018 academic year is the 25th anniversary of the Iowa Women’s Archives, but 2018 also marks 25 years since 6-on-6 girl’s basketball was played in Iowa. IWA is partnering with the Smithsonian Institution’s Traveling Exhibition Service for their Hometown Teams: How Sports Shape America exhibit. Click here to learn more about IWA’s role in this exhibit.
Here at the Iowa Women’s Archives, we believe every woman has a story and every girl has a voice. And if you were part of the 6-on-6 movement or participated in women’s athletics, physical education, or recreation, we’d love to hear from you and talk about the possibility of adding your story to our collection. Drop us a line at firstname.lastname@example.org or 319-335-5068.
It is in part thanks to the Iowa Suffrage Memorial Commission that the IWA has such a collection of materials on the suffrage movement in Iowa. The commission, incorporated in 1922, was organized “to commemorate the efforts of the Pioneer Suffragists and the long procession of workers who helped secure the final enfranchisement of women.” In addition to successfully erecting a bas relief memorial by native Iowan artist Nellie Walker in the state capitol building, the commission worked to preserve materials relating to the women’s suffrage movement through 1941. Many years later, Lindsay Shannon, Assistant Professor of Art History at North Central College and author of “Uncharted Territory: The Iowa Suffrage Memorial and the Pioneer Spirit“, found the collection quite useful. Shannon, who received her Ph.D. in American art history from the University of Iowa, had this to say about the collection:
“The Iowa Suffrage Memorial Commission records are a true gem! I often begin a research project on a female artist expecting to find very little documentation of their working methods or process, but was delighted to find a detailed account of these politically astute women debating and deciding how best to represent their achievements in a work of public art. This collection has been crucial to my efforts to give the Iowa Suffrage Memorial the recognition it deserves through published research and public presentations, such as the exhibition “Women’s Suffrage in Iowa: 90 Years after the ‘Winning Plan'” at the Blanden Art Museum. What excites me the most is knowing that the Iowa Women’s Archives is custodian to historical collections like this and that it continues to actively seek out new material that represents overlooked or undervalued voices.”
The collections in the Iowa Women’s Archives feature women from all walks of life. For Karissa Haugeberg, Assistant Professor of History at Tulane University, the papers regarding nursing and nurses are of special interest. Collections in this broad topic include papers authored or co-authored by Geraldene Felton, Professor and Dean of the
College of Nursing at the University of Iowa from 1981 to 1997, newspaper clippings and letters of support concerning Iowan Barbara Fassbinder, who advocated for the rights of AIDS patients from 1990 to her death in 1994, and records pertaining to the involvement in professional organizations of Myrtle Aydelotte, the Director and Dean of the State University of Iowa (now the University of Iowa) College of Nursing from 1949 to 1957. Haugeberg, who worked as a graduate assistant at the Iowa Women’s Archives while she was a student at the University of Iowa, comments on her use of all of these collections for her latest project.
The records of nursing organizations and the papers of key nurses are fueling my research on the history of American nursing. The papers of Geraldene Felton, who served as the first African American dean of nursing at the University of Iowa, include her reflections on the women’s liberation movement and
her scholarship on topics ranging from nurses’ work with abortion to the physical demands of working night shifts. Barbara Fassbinder’s papers include newspaper clippings, speeches, and correspondence about one of the first nurses to contract HIV on the job. After she disclosed her illness publicly, Fassbinder traveled the nation, often speaking before church groups, in an effort to destigmatize the illness. Finally, Myrtle “Kitch” Aydelotte’s papers and the records of UI’s College of Nursing illuminate the relationship between nursing education and larger movements for social justice during the twentieth century. The breadth of IWA’s collections is
enabling me to offer new insights about the history American nursing.
The Iowa Women’s Archives features several collections related Iowa’s rejected 1980 Equal Rights Amendment (ERA), which was the first state ERA initiative after the passage of the national ERA in 1972. These include the Iowa ERA Coalition papers, and the Iowa Women Against the ERA papers. Both collections were of use to Celeste Campos-Castillo, Assistant Professor at UW-Milwaukee, and stef shuster, Assistant Professor at Appalachian State University, when they were grad students at he University of Iowa and researching social movement activists. Exciting discoveries were made in the research process, which shuster explains.
Celeste Campos-Castillo (Sociology PhD at UIowa, Assistant Professor at UW-Milwaukee) and I (stef shuster, Sociology PhD UIowa, Assistant Professor at Appalachian State University), used the Iowa ERA Coalition and Stop ERA collections to examine how social movement activists pitch their issues to a wide audience in the hopes of mobilizing them to action. We had some pretty exciting results! While social movement theorists tend to assume that activists should present their issues in a way that
resonates with their audience (called frame resonance) to enable a higher chance of success, we found contradictory evidence to this longstanding theory. In analyzing the archival material from the IWA, we found that movement activists might consider pitching their issues in a way that creates dissonance in their audience to improve the chances of mobilization (e.g. like voting for the ERA). These ideas were published in the March 2017 issue of the Social Psychology Quarterly.
We intend to turn our attention next to how issues can be framed in a way that compels certain emotions, and which emotions might be most effective for mobilizing people. Some of the artifacts that we would like to incorporate are the cartoons from both pro- and anti-ERA organizations.
“Diversity in Dance.” This was the motto of Edna Dieman and Julia Bennett when they founded the Dieman-Bennett Dance Theatre of the Hemispheres in 1951. The Cedar Rapids dance school operated until 1997, with classes in classical ballet, as well as dance styles from Spain and India. Miss. Dieman and Miss. Bennett, as they preferred to be called, donated the records to the Iowa Women’s Archives in 1996 and later years. Since then the photographs of dances, choreography notes, costume designs, and scrapbooks documenting Dieman’s and Bennett’s international training among many other items have been used by students and researchers alike.
Jane Nesmith, an assistant professor of rhetoric and director of the writing center at Coe College in Cedar Rapids. She explains her interest in the Dieman-Bennett Dance Theatre of the Hemispheres.
For the past few years, I’ve been doing research on Edna Dieman and Julia Bennett, who ran the Dieman-Bennett Dance Studio in Cedar Rapids from 1951-1997. They taught my dance teacher, so I think of them as my “dance grandmothers.” I began visiting the Iowa Women’s Archives, which holds their collected materials, to do research in the summer
of 2013, and I have been thrilled to find so many rich and interesting materials: diaries, manuscripts, newspaper articles, photos, recital programs, video footage and more. These items help the story of Miss Dieman and Miss Bennett come alive for me, and for the groups to whom I’ve given presentations. The librarians here are so welcoming: they find materials, make copies, and
have even connected me with others who are interested in the Dieman-Bennett papers. I don’t know what I’d do without this resource that preserves and shares materials important to the story of these two important women.
– – Jane Nesmith, Coe College, 2017
University of Iowa associate professor and chair of the dance department Rebekah Kowal likewise found the records helpful for her research. Over the years, she has brought many of her dance students into the Iowa Women’s Archives. Here, she describes some of what her students have loved about using the Dieman-Bennett materials:
I was first introduced to the Dieman-Bennett collection my first semester at The University of Iowa. An MFA student in dance had encountered the collection as part of an assignment given to her by Professor Linda Kerber in a women’s history class. The assignment was to find a topic of interest in the Iowa Women’s Archives and explore the resources accordingly. The MFA student was thrilled by the idea that there was a Cedar Rapids based dance company devoted to the teaching and performance of global dance, and that Edna Dieman and Julia Bennett had been so generous to leave their materials to the Iowa Women’s Archives. At the time, I had not begun my current research project, which is investigating the significance of international dance performance during the postwar period, so I shelved away the information about the collection as something I would explore when ready. Flash forward 15 years, and the Dieman-Bennett collection has provided a wellspring of materials for my current book project as well as for several undergraduate dance researchers to discover. For the past two years, I have been working with several dance
major honors students to examine the legacy of Dieman’s and Bennett’s mentor, La Meri, in southeast Iowa, including the inspiration to inaugurate the Dieman-Bennett
Dance Theater of the Hemispheres and related school. My students have thrilled at the opportunity to study Dieman and Bennett, poring through their records, especially diaries and Bennett’s unpublished autobiography “A Chest of Jewels.” They have taken the initiative to design and build a website to document their research, and to provide a lens onto the legacy of international dance performance in our region. We have all also appreciated the chance to view related videotapes, which are unique among repositories across the U.S. in demonstrating the educational lecture-demonstration format preferred by Dieman and Bennett as an approach to community engagement and education.
Edna Griffin’s civil rights activism earned her the title of the “Rosa Parks of Iowa.” Griffin moved to Des Moines with her husband and children in 1947 and by 1948 she was agitating for change. She led a campaign to desegregate the lunch counter at the local Katz Drug Store, organizing picket lines, and filing charges against its owner, Maurice Katz. Her suit went to the Iowa Supreme Court where Katz was declared guilty of violating the 1884 Iowa Civil Rights Act in 1949.
Landon Storrs, Professor and Director of Undergraduate Studies in the University of Iowa’s history department has supervised many undergraduate graduate students as they’ve used the Iowa Women’s Archives and the Edna Griffin papers in particular:
IWA has been an indispensable resource for my undergraduate students conducting original research assignments for classes including the Introduction to the History Major (a methods class on how to find and interpret historical documents), US women’s history since 1877, and The Sixties in America. I’ve also supervised many honors theses, masters’ essays, and PhD dissertations that have relied on IWA collections. Topics have included Iowa women’s fight for voting rights and later for AND against the Equal Rights Amendment; women’s war work on the WWII home front, women’s military service, women’s antiwar activism, African American women’s fight for civil rights, Iowa City women’s liberation groups,
and farm women’s activism during the 1980 farm crisis. The archives has rich records of diverse individual women and also women’s organizations.
One example that leaps to mind is the collection of Edna Griffin (1909-2000), an African American who successfully campaigned to desegregate the Katz Drug Store in Des Moines in the late 1940s; one undergraduate from Des Moines wrote an excellent paper explaining the origins and significance of Griffin’s campaign, which preceded the more famous Montgomery, Alabama Bus Boycott. This is just one example–if time permitted, I’d also discuss Emma Goldman Clinic records, the collections of several Iowa League of Women Voters chapters, and the feminist periodical of the 1970s, Ain’t I a Woman–all these have fascinated the diverse male and female undergrads who learn to find and interpret historical evidence using these locally resonant papers.
Today, the Iowa Women’s Archives commemorates Lenabelle Bock. Bock, whose name is spelled variously Lenabelle and Lena Belle, was politically active in Iowa for over twenty-five years before her election to the Iowa House of Representatives. Bock, a Republican, campaigned for and won the House seat for Hancock County. She was one of five women elected to the House in 1960. She is often remembered for her statement: “Women in the legislature need to look like a girl, act like a lady, think like a man, and work like a dog.”
The Lenabelle Bock papers, housed at the Iowa Women’s Archives consist of three scrapbooks covering Bock’s legislative career from 1961-1964.
When I was starting research for my MA on women in politics in Iowa in the 1950-60s, I was delighted by the trove of useful primary sources I found at the Iowa Women’s Archives. One of the best finds of my research there, which in turn helped shape my MA project, was discovering the political
scrapbook of Lenabelle Bock, who served the Iowa House of Representatives from 1961-1965. What struck me most about the Lenabelle Bock scrapbook was its compilation – I saw her constructing a narrative about her political career not just in what she chose to keep and collect in the pages of a scrapbook, but in how she decided to compile it. For example, Bock placed a newspaper article listing her as a candidate at a Republican rally opposite a page describing her as “our state representative” at the same rally the next year, despite the majority of the scrapbook running month-to-month chronologically. She was making a conscious connection between the two events, as if to say that she made good on her candidacy.