Visions and words: A selection from the Maine Association of Women in the Fine and Performing Arts

April 5th, 2013 by Ashley Sklar

Sarah Knock (Cumberland, Maine).  A Day in June. Photograph.

Medora Hearn Batstone (Addison, Maine).  Hitching.

Edy Bishop (Portland, Maine).  Beginnings. Marble sculpture.

Beverly N. Greenspan (Maine).  Pictures of the Island.

Karen Saum, producer (Union, Maine). Video still from Working Women of Waldo County – Today.

Mary Ann Meade (Shrewsbury, Massachusetts).  A Natural Process.

Maria Jimena Lasansky, dancer (St. George, Maine).  Photograph by Anne Elzas-O’Keefe (Maine).  Featured in the Portland Press Herald on Thursday, April 26, 1979.

Lee Sharkey (Skowhegan, Maine).  progenitor.

With fresh eyes: The Maine Association of Women in the Fine and Performing Arts

April 3rd, 2013 by Ashley Sklar

Having arrived in Maine last spring with only a vague notion of how I would spend my time, only a few short months went by before I found the Maine Women Writers Collection.  After a couple conversations on archives, life and women with Cathleen and Catherine, I realized this was where I was supposed to land.  I was a two semesters into my masters in library and information science program with Drexel University where I was focusing on archival studies.  As the program was entirely virtual, the MWWC offered a venue for learning the hands-on art of processing an archival collection.  With an art history background and experience working the nonprofit arts world, Cathleen said they had the perfect collection for me.   The papers from an all women fine and performing arts organization had been in their backlog waiting to be fully processed for years.  It was a perfect match.

The Maine Association of Women in the Fine and Performing Arts (MAWFPA) grew out of the energy following the Women in the Arts Workshop held in Augusta in June 1977 at the Maine State Meeting of the Commission on the Observance of International Women’s Year.  After attending this meeting, there was a desire by attendees to know more about the activities of women artists around the state.  Later on that same year, Anne Hazelwood-Brady founded MAWFPA as a statewide nonprofit organization whose mission was to support Maine women artists.

In the spring of 1979, MAWFPA organized a three-day arts festival and conference at what was then Westbrook College in Portland called Spectra 1.  MAWFPA received a $5,000 grant from the National Endowment for the Arts (NEA) towards their efforts.  With Hazelwood-Brady serving as Director, Eric MacLeod as Artistic Director and Janet Beerits as President of the Board, they put forth a panel of impressive jurors: May Sarton for poetry and literature, Dahlov Ipcar for painting, Andrea Stark for dance and Bernice Abbott for photography.  The Joan Whitney Payson Gallery on campus held the Spectra 1 art exhibition of painting, sculpture, graphic art, photography and film.  Along side the visual arts was a publication of poetry and prose and four performances of music, theater and dance.  There were workshops for artists and a printed catalogue for the fine arts.

As Spectra 1 came to an end, the desire for connection and community among female artists in Maine remained.  After that spring, small regional meetings of MAWFPA were held across the state with the intention of maintaining a shared artistic community in the more isolated areas of Maine.  In addition, MAWFPA organized statewide annual meetings open to all members.

In 1981 with nearly 200 members, thoughts towards another Spectra began to emerge.  In October of 1982, after many months of meetings, planning and fundraising, the month-long arts celebration Spectra 2 opened at the University of Maine at Orono with Anne Elzas-O’Keefe at the helm as Project Director.  Once again Spectra 2 consisted of a multitude of media: a visual arts catalogue, an anthology of poetry and prose and an abundance of performances, workshops and events.

Although MAWFPA elected a Board in 1983, Beerits resigned as President and the activities of the statewide organization seem to have come to an end.  In 1989, Hazelwood-Brady asked Beerits to write a brief history of MAWFPA capturing her time as President from late 1979 through January 1983.  She concludes by writing, “At its peak, about 300 paid members made MAWFPA a real force in the life of women artists of Maine.”

Carrying on the tradition of MAWFPA, the Maine Women in the Arts, one of the original small regional groups, continues to meet in Kennebunkport and can be explored online at www.mainewomenarts.com.

The Ramona Barth Collection

February 7th, 2013 by Sophie Glidden-Lyon

Just before her 43rd wedding anniversary in 1976, Ramona Barth typed up a two page “Proposed 5 Year Plan and Contract” and presented it to her husband, Rev. Joseph Barth. It was her 65th birthday, and an argument that had occurred just ten days before had inspired her to lay out exactly how she thought the next five years should go. The resulting “contract” is a surprisingly funny, tongue-in-cheek list of demands, or rather “needs” as Ramona clarifies, since according to her, “demands is an unfeminine, unladylike, un-Christian word never to be part of the vocabulary of a ‘true woman’ and has for a lifetime pushed Pavlovian buttons of horror and anger in spouse Joseph.”

Line by line, Ramona lays out her expectations – the uses of shared space, who retains control over the kitchen and her willingness to, “…in sickness and in health to continue to protect his egg shell ego as per my record of the decades.” I was unable, much to my amused pleasure, to tell how much of it was serious, and how much was tongue in cheek. What is clear, however, is Ramona Barth’s wit. Whether or not the barbs directed at Joseph were sincere did not change the sentiment behind them. Barth had expectations and boundaries and she was not about to defer to her husband. Feminism was not simply a political ideology for Barth, but rather an integral part of the way she lived her life. That it bled into her marriage so acerbically is not a surprise.

For the past few months, I’ve been processing the Ramona Barth collection and the above mentioned contract is one of my favorite discoveries, and perhaps one of the more revealing pieces of material. Feminism had long been a part of Barth’s life, particularly in it’s applications to marriage, motherhood and religion. A graduate of the Jackson College for Women at Tufts, and the Meadville Theological Seminary at University of Chicago, Barth spent most of her adult life writing about and organizing around second wave feminism. The newly processed collection contains her work from grade school to graduate program, and Barth’s passion for feminist theory, and critical thinking shines through it all.

When Barth attended Tufts in the early 1930′s, secondary education was still unusual for a woman. But Barth embraced the intellectual atmosphere with gusto and she took to the notion of cultural, political and personal critique like a fish to water. In 1931, Barth had an essay published in the Tuftonian, the university’s literary magazine, entitled Formula C2K. In it she pushes her classmates to ask questions of everything. “Now is the time to doubt,” she writes, “to question, to wonder just how much we should accept and how much we should reject from the many and complex beliefs that have been handed down to us.” This was a philosophy she took to heart, and carried with her into her married life, into her political life and her spiritual life.

The daughter of a congregational minister, religion and spirituality were strong presences in Barth’s life from the very beginning. She preached a sermon from her father’s pulpit in 1930, when she was 19 years old. It was the first time a woman had ever preached in the 150 year history of this particular church. A prolific writer throughout her education and beyond, Barth’s collection is dotted with gems of feminist, Unitarian thought. In 1974, she wrote an essay entitled “Why We Burn: A Feminist Exercise in Exorcism,” which detailed all the multitude of sexist and misogynist passages from a wide variety of religious tracts. “Why burn?” she writes, “The answer is simple. Read your Bible – your Bibles of the world, and then ask, how else raise the theological consciousness of an obtuse, callous, sexist society?” It became clear to me, while processing this collection, that writing was as much a part of Barth’s activism as the protests she attended, and the events she organized.

As a young mother, Barth engaged her feminism through writing and publishing articles on motherhood and domesticity. She held lecture series with her husband, Rev. Joseph Barth, during which the pair would debate topics such as “Meaningful Marriage” and “Men and Women – Do They Play An Equal Role?”

Later in life, Barth took part in protests in connection with the National Organization for Women (NOW) and ultimately helped found the Maine chapter of NOW. Her reverence for historical icons such as Margaret Fuller and Anne Hutchinson led her to organize a multitude of events commemorating such figures. She took part in performances, celebrations and memorials, and clearly drew much of her political and spiritual inspiration from these women. Another large presence in her papers is the poet Edna St. Vincent Millay, whom Barth held in high regard. She became closely involved in the centennial celebration of the poet’s life, and wrote on her extensively. Barth’s passion for and personal connection to these women is obvious throughout the collection and I found it powerful to see so clearly the source of inspiration for a seasoned activist like her. She devoted time, energy and much of her writing to them, and seemed to get much in return.

Barth’s papers are a treasure trove, and an interesting glimpse into the thoughts and life of one of the many women who made up the larger movement. Her commitment to the cause – fighting to advance equal rights for women – rings out in everything she wrote, from her school papers, to that five year plan and contract. Barth knew what she had to offer and she worked hard to make her voice heard. That voice is a very distinct one and her message is clear: Question everything you take for granted, and never back down.

Page 16…and a poem

January 29th, 2013 by Ashley Sklar

Last Thursday, during my processing of the Maine Women in the Fine and Performing Arts (MAWFPA) collection, I had a lovely thing happen.  I am getting towards the end of re-housing all the materials in acid free folders and boxes, working my way through the remaining couple boxes of loose and disorganized papers.  I had been putting off looking through this one overly full folder of items that had a title that I knew had nothing to do with anything else in the collection.  When I opened it, I found it full of papers that made no sense together at all, as if some one swiped this pile off a desk corner (or two) and shoved it in a randomly titled folder.  I checked in with Cathleen and together we decided it should be taken apart and sorted according to the series structure I had carried over from the organization’s filing system.  So I pulled it all out and put financial things with other financial things and the couple artists’ bios and resumes in the right folder.

Also in there was this one piece of paper filled half way with someone’s story.  It was a printed font, but not the typewriter font of many other documents in this collection, as it dates from about 1977 through 1983.  The page was numbered 16 in the top right corner.  For some reason I recognized the font and even a bit of the story or the rhythm of how it was typed out, as I still had not actually read the writing through.  I hung on to it and pulled out the Membership & Submissions series that I knew contained the artists’ submissions to Spectra 2, the organization’s multidisciplinary month-long art exhibition and showcase that took place around the state of Maine in October of 1982.  I located the folder with the poetry and prose submissions (a rather stuffed one) and started to go through page by page.  Each submission is numbered though some are only one sheet with a poem and others are short stories or essays that are any where from a few to twenty pages.

So I kept going page by page and I found this lovely poem entitled Leaving by Rosa Lane.  I had not paused to read anything yet, but I felt compelled to read this poem (see it below) and I quickly fell for it, so much so that I had to write it down for myself.

Turning back, I then kept going through the folder.  I got to submission number 28, a short story called Smoke by Lucy Honig, the last one in the folder amazingly.  I immediately recognized the distinct font and started flipping through the multi-page submission…page 5… page 9… page 15… I added page number 16, the last page of her short story.  Last week, this was my small and pleasing moment in the archive.  I am happy knowing that I put her story back together and will leave it in one whole piece.

Below is the poem I found along the way…

Margaret Jane Mussey Sweat: Author, Patron, Reformer

November 29th, 2012 by Cathleen Miller

Over the last few weeks, prompted by a visit by a researcher, I have worked on rehousing the Margaret Jane Mussey Sweat collection.  Periodically, this kind of work allows me to get to know a collection, and gives me the opportunity to assess the condition of materials.  In this case, I knew that many of the volumes had leather covers that were deteriorating.  What I found was that a large portion of these covers were splitting because of the age of the leather.  Since this collection has received a good deal of attention over the last few years, I am going to have some of the volumes conserved.  It seems, too, that this collection is an excellent candidate for digitization.

The travel diaries in this collection chronicle Sweat’s journeys across many continents; some, like the journal from Mexico above, contain fading photographs of the locales that she visits.   In one of the early entries to the Mexico journal on March 7, she describes the scene in towns through which her party travels.

“The group of  shop umbrellas shone white in the sunshine at one of the way stations + the slender stock of wares did its best to attract our attention.  At every pause in our journey there is something picturesque, beautiful or grotesque + novel.  The foliage is unlike our own, the sunlight is more vivid, the towns more huddled.”

She goes on to make all sorts of judgements about the people in the towns, writing, “Children + dogs + hens give a lively effect to these otherwise forlorn shelters.  I fancy no native ever invents anything or develops any improvements in his surroundings no matter how devoid of comfort they may be.  They all seem to accept privation + filth as necessary + inevitable human conditions.  The mortality among them is frightful, chiefly from lung diseases__”

While these entries offer little to admire in her attitudes toward the villagers in the towns through which she travels, the diaries chronicle a way of seeing the world that was characteristic of her class and time.  They help us understand a certain way of being in the nineteenth century,  and, when contrasted with other diaries in our collection by women of ordinary means in Maine, we can begin to see the fuller picture of life in that time.

 

The Maine Women Writers Collection acquired the Sweat collection in 1964 and 1965–the first acquisition is listed in the administrative files of the Collection as a purchase, the second is listed as a gift from the Portland Society of Art.

These two newspaper articles describe the collection as “a most valuable acquisition” and “a valuable addition to its collection of manuscripts.”  This is true because the collection so richly documents Sweat’s life and her varied activities, including the founding of the Cobweb Club, which later became the Washington Club, “a woman’s literary club of much prestige.”  The Sweat collection continues to garner interest from researchers both in Portland and across the country.

Sweat’s novel Ethel’s Love Life, published in 1859, is a piece of interest because of its outspoken depiction of love between women.  As I’ve met more people researching Sweat, this is one of the points of conversation that inevitably arises.  For more on this, see Cliff Gallant’s recent article in the Portland Daily Sun: http://www.portlanddailysun.me/index.php/opinion/columns/8143-margaret-jane-mussey-sweat.

She is an intriguing figure, and one who seems to be getting more and more attention.  We will be working to make her papers even more accessible to researchers outside of Maine, and I will certainly post updates as that process gets underway.