Exhibit open until the end of April in Damen Student Center, 2nd floor
Oral histories are an exercise in compassion. The interviewer must learn to both sit quietly and listen actively in order to make sense of an experience outside of their own. It’s a humbling experience—especially when it comes to the Immigration Advocacy History Project (IAHP).
IAHP began in the aftermath of the 2016 presidential election. Disheartened by, among other things, hateful rhetoric towards immigrants, a cohort of Loyola History Graduate Students decided to document community members doing advocacy work here in Chicago. The group secured funding to do a series of oral history interviews, create an exhibit, and host a speaker.
I came on to the project after the purpose and scope had been set, in the spring of 2018. As the newly-appointed oral historian for the Loyola Oral History Project, I was eager to get some interviewing experience under my belt. Luckily, my schedule allowed for me to do five interviews with four community members, spending around an hour with each.
One interview in particular has stayed with me. On a sunny day in April, I traveled down the red line to the Haitian American Museum of Chicago to talk to its founder and president, Elsie Héctor-Hernández. She welcomed me into the museum space, we enjoyed coffee and pastries together, and she gave me a tour after we finished our nearly two-hour-long interview. She, too, was disheartened by anti-immigration rhetoric. And as a Black woman, she faces daily discrimination beyond her status as an immigrant. She had plenty to say about her challenges, but also shared an uplifting message of perseverance. In the face of it all, she operates a vibrant and community-focused museum in Uptown—one of Chicago’s most diverse neighborhoods.
Her words inspired the name of our exhibit, currently on display on the second floor of Damen Student Center: “Stand Strong on the Side of Righteousness.” This also guided the design process of the exhibit. Beyond being informative, we wanted this exhibit to actually be useful to potential immigration advocates. Keeping the interviewees’ words central to the display, we decided to use quotes from the recordings to answer five central questions:
What is the current immigrant experience?
What is immigration advocacy?
Who is an immigration advocate?
Why be an immigration advocate?
How can I get involved in advocacy?
The hope is that Loyolans will take this information and turn it into actions. Already, our interviewers and interviewees have begun to form a network. At our panel event in the fall, some exchanged contact information and a few attendees asked if they, too, could be interviewed.
With a great effort on the part of our team, and several other departments on campus, we succeeded in bringing Opal Tometi to Loyola for our speaker event. Tometi is a Nigerian-American human rights activist and co-founder of the Black Lives Matter movement. We were especially excited to use this as an opportunity to talk about the intersection of race and immigration–an issue that came up in several interviews.
The Immigration Advocacy History Project is meant to inspire compassion, but more than that, it is meant to inspire action. With each step of the project, we have widened our audience and made connections in the community that didn’t exist before. Our hope is that the impact of the project will continue to grow.
On October 17th, Professor Alice Weinreb of the Loyola University History Department led an excellent roundtable on women’s history research at the Crown Center on Loyola University’s Lakeshore Campus. Professors Tanya Stabler and Elizabeth Fraterrigo and PhD candidate Ruby Oram, all also of Loyola, presented on their research. The event included spirited conversation among the guests and delicious snacks from the Middle East Bakery and Grocery in Andersonville. While the subjects of the research differed in era and geographic focus, each spoke to the thorny question: what constitutes a women’s movement, especially in the absence of explicitly feminist institutional structure?
After a few introductory comments from Professor Weinreb, Professor Stabler discussed her research on the Beguines, a lay order of women in medieval Paris. Inspired to works of piety and charity, these women took temporary vows and self-identified as religious, but mostly existed outside the control of canon law and a patriarchal monastic structure that often saw independent women as a threat to male leadership. Fascinating and compelling, these women were neither nuns nor “normal” women. While much of the literature on the era focuses on official orders or notable nuns like Saint Clare of Assisi, Stabler focuses on the innovations of the Beguines while investigating them as a compelling women’s movement despite their lack of formal recognition.
Next, Ruby Oram discussed her dissertation research on vocational education of young ladies in Chicago between 1880 and 1930. Much of the literature on Progressive-Era education focuses on industrial training for boys, but Oram notes that vocational training for girls preceded and even inspired similar programs for male students. Vocational education for young ladies took three forms: traditional craft skills like sewing and hat-making, white-collar labor like typing and stenography, and domestic education for modern home-making. Oram argues that Progressive reformers saw education for girls not just as an economic tool but also as a solution to social ills such as child labor, sexual delinquency, broken families, etc. Although the women spearheading these programs may not have identified as feminists or gender activists specifically, Oram sees their work as a women’s movement because women were organizing at the official level to influence law and policy.
Professor Elizabeth Fraterrigo outlined her work on the National Organization for Women in the 1960s-1980s and their work to change the culture through media, shaping and controlling representation to encourage gender equality. This program and other feminist projects like it in the era are readily identified as women’s movements partly because the 1960s was the era of movements. But this led the roundtable to also discuss whether or not anti-feminist activists, like the late Phyllis Schlafly, were part of a women’s movement as well, just one of a strikingly different nature.
Much of the current literature on women’s movements focuses on very structured groups of women led by “big names” like Betty Friedan or Saint Clare. Broadening our answer to the question “what defines a women’s movement?” may help scholars and educators elevate the voices of influential but non-institutional groups of women working to improve their local communities, either as part of their own projects or within the structure of another. It may also allow us to investigate the tensions between the advantages of institutional protection and organization versus the freedom of movements with fewer structural restraints.
The next History Roundtable at the Loyola History Department will take place December 5th from 12:30-2:00pm in Crown 528. The topic will be ‘violence’, and the presenters will be Loyola Professors Gema Santamaria and Suzanne Kaufman and Loyola History PhD student Ella Wagner. According to Professor Weinreb, “this series is especially intended for grad students, particularly those who are currently writing/working through their research materials. The goal is to encourage discussion amongst faculty and grad students to tease out theoretical or conceptual categories that are relevant to many of us here at Loyola. Grad students – see this as an opportunity to hear from and talk about your work with faculty and other grad students whom you might otherwise not engage with! Come to pose questions about your work, or to hear other people discuss their ideas and struggles.”
Snacks will again be provided. We at the Lakefront Historian highly encourage you to attend.
Chicago has made a name for itself in live theater and the performing arts, as a hub for off-broadway plays, epicenter of the Little Theater Movement, and with students from its improv comedy schools ascending to fame on Saturday Night Live. But with all the ink spent on Chicago theater, very little has splashed for the rich history of college drama departments in the Windy City. These institutions have not only trained up many of America’s stars of stage and screen, but also feed into the important local arts and multimedia production sectors, raising up the next generation of high school drama coaches and local television producers. We can see an amazing example of such an institution in the drama department at Mundelein College, which lasted from 1930 to 1991 as one of the first – and also the last – private Catholic women’s colleges in Illinois. Far from an insular, strictly academic program, the theater department at Mundelein College shone brightly as both very communal and highly innovative.
While Mundelein College was named for Cardinal George Mundelein, the funding, planning, and administration of the school came from the dedicated Sisters of Charity of the Blessed Virgin Mary, the BVMs, led by the school’s first president Sister Mary Justitia Coffey. They chose a modern design, with the school primarily comprised of a tall skyscraper adjacent to Loyola University in Rogers Park so the two schools could share lecturers and access to the Red Line Train stop. (The Mundelein building primarily serves as classrooms for Loyola University today.)
The building featured excellent theater space according to a 1932 pamphlett: “The entire eighth floor of the college building is devoted to drama and art. At one end of the broad corridor which leads from the elevators is the Little Theatre. Complete in its equipment, the stage furnishes an excellent workshop for the drama student.” The floor also included studios “for private instruction”, ventilation, mirrors, “other necessary equipment”, and a club room with “modernistic furniture and attractive window hangings”. The Little Theatre was sufficient for smaller productions, including one-act plays, student-written scripts, and events like teas and revues. For larger productions, the young thespians worked their magic in the large auditorium on the ground floor of the skyscraper campus. It offered patrons of the arts 925 floor seats and 325 balcony seats. “Beautiful in its simplicity,” one pamphlet reads, “it carries out the architecture of the rest of the college in the long lines of its mural decorations and in the immense chandeliers which epitomize the structure of the building… The stage has the distinction of having the first successfully-operated electrical rigging in this country.”
In addition to its modern construction, the auditorium, in the words of alumni and Academy Award-winning actress Mercedes McCambridge, possessed strange aural properties:
When empty the auditorium at Mundelein College was acoustically quite unsound… When it was full of people, the acoustics were great. But in the emptiness there was booming and echo… a perfect place for me to work on my voice… I literally learned to play my instrument by ear. The reverberations that hit back at me from the walls and the deep hole of the balcony let me know that nasal tones are scarcely ever effective, that each word deserves its completeness or it is received as garbled garbage…
Sister Mary Leola Oliver served as the department’s first director from 1930-1938, and began the program’s long history of innovation. She not only produced an impressive array of productions ranging from Shakespeare to the tragicomedies of Henri Gheon, but also organized her students into a verse-speaking choir, a new concept from Europe where combinations of light and dark voices performed texts in half-spoken, half-sung arrangements. The program proved so successful that Sister Leola won her choir a 5-year radio contract with NBC, exposing Mundelein Drama to millions of listeners and giving students like Mercedes McCambridge a jump-start to their acting careers. The much-loved Sister Leola counted famous thespians – including Ethel Barrymore and Claude Rains – among her friends, leading to exciting guest speakers for her students.
From 1938 to 1960, Sister Carmelia Hanses directed the department, which contained both the drama and speech programs at Mundelein. Sister Carmelia innovated by using theater to treat speech disorders, much as Viola Spolin created improv theater (also in Chicago) to help children develop socialization skills through play. Under Sister Carmelia’s leadership, the Mundelein students coached a theater program for the children of Chicago, and many went on to work in the field of speech pathology.
Although Sister Carmelia technically directed the program until 1960, the real director of the drama portion of the program from 1952 to 1980 was Sister Jeanelle Bergen, who prolifically produced three major plays a year in addition to smaller reviews and mosaics written by her students. Sister Jeanelle, while still incorporating the classics, also introduced her students to post-modern theater and plays with controversial topics, such as her 1968 production of Shelagh Delaney’s A Taste of Honey which tackles subjects including alcoholism, racism, and homosexuality.
But perhaps Sister Jeanelle’s most innovative contribution to the program was her commitment to preparing her students for the television age. Despite a dearth of equipment, she arranged classes on television production, created local television programs related to the Catholic church, and even took a summer internship at a game show so she could learn the tricks of the trade to teach her students. Once an executive hoping to score complimentary tickets called her “Jeanie Baby” on the phone, shocked to find on his arrival that “Jeanie Baby” was a nun in full habit, holding a clipboard while helping film “The Match Game”.
Much work remains for cultural historians in studying both the Mundelein College Drama Department and the history of Chicago academic theater departments generally. Scholars should particularly consider the outcomes of these programs for women seeking careers in fields such as drama pedagogy, performance, television production, and speech therapy. For those of you interested in the Mundelein College Drama Department, please reach out to me at firstname.lastname@example.org and I will send you my entire paper on the subject, or visit the Women and Leadership Archives at Loyola University and ask to see the Mundelein Drama Department files. (Ask nicely, and maybe they’ll show you Mercedes McCambridge’s Academy Award.)
Have you ever wondered what happened to your parents’ college materials, or what could happen to your own file from your undergraduate or graduate career? After working with the vast archival collection of Mundelein College (MC), I’m tempted to call my parents’ universities and see if they have archival records.
The Chicago Tribune’ssale of Tribune Tower, the media company’s home for 93 years, has prompted reflections on the meaning of the building and its place in Chicago’s cityscape. Editorialshavepraised the building for its monumental appearance and Gothic inspired facade, as well as its interior lobby.
But Tribune Tower was not always recognized as a paragon of architectural design. Upon its completion in 1925, the Gothic inspired tower, characterized by long, vertical piers and topped with flying buttresses modeled on Rouen Cathedral’s Tour de Buerre, was not universally praised. In fact Louis Sullivan, the Godfather of Chicago architecture, condemned the building’s design, writing that it was “evolved from dying ideas.”[Louis Sullivan, “The Chicago Tribune Competition,” Architectural Record 53 (February 1923): 153]
A deeper look at the story of Tribune Tower reveals the building as we know it today was the result of a hotly disputed design competition; one which would burst open a debate about the the value of “historical” architectural styles and the very nature of modern design.
On June 10, 1922 the Chicago Tribune announced it would be holding an international competition to choose the design of its new headquarters, the outcome of which would produce “the most beautiful office building in the world.”[Chicago Tribune, November 30, 1922.] The awards jury, firmly under the Tribune’s corporate control, ultimately received over 200 entries from architects on three continents. By November 29th, they had reached a consensus. Unanimously, jurors awarded the winning prize to the Gothic inspired skyscraper of New York-based architects John Howells and Raymond Hood.
However, later that day, a late entry arrived that sent the committee into a frenzy of astonishment and indecision.
Telephones and automobiles got into action and the advisory committee of city officials and citizens – who thought on Wednesday of last week that their work was done – hurriedly responded to consider the new entry…The latest arrival…smote them with its message of silent majesty from a distance of fifty feet. [Chicago Tribune, November 30, 1922.]
This late arrival, No. 187, was the entry of Finnish architect Eliel Saarinen. Saarinen’s modern, minimalist design, characterized by a tapering tower and vertical lines of fenestration, so impacted the jury members that the awards committee was reformed and deliberations began all over again. After three days of round-the-clock deliberations, the jury reached a final decision at midnight on December 2nd. Their verdict was this: Howells and Hood would retain first place, Saarinen received second, and Chicago firm Holabird and Roche received third.
Extended Call for Papers
Loyola University Chicago History Graduate Student Conference:
November 18, 2017
Loyola University Chicago Lake Shore Campus, Chicago, IL EXTENDED deadline: September 22nd, 2017
Masters and doctoral graduate students in any field of historical study are invited to submit proposals to present individual research papers at Loyola’s Fourteenth Annual History Graduate Student Conference. In keeping with this year’s theme, Hearing Silences, we solicit presentations that address gaps in the historical record, especially those related to marginalized subjects. We welcome original research on any topic of historical interest, but we encourage presenters to consider the ways in which historical silences hinder, motivate, or inform their scholarship. Potential frameworks may include, but are not limited to: borderlands and transnational studies, urban history, gender history, and public history. We also welcome papers about history projects in the digital humanities. The goal of this conference is to provide an opportunity for students to gain experience presenting original research projects and to receive feedback from their peers on their work. Prizes will be awarded to the top presenters.
Individual proposals should include the submitter’s name, contact information,
institutional affiliation(s), a one page abstract of the paper (with a title), and a sentence listing up to three historical subjects your paper addresses (e.g. French history, sport history, gender). Please also include a brief biographical statement indicating your academic status along with a return address and current email address. Please note that submissions will be accepted as time and space permit.
Email your proposal as a PDF attachment to the HGSA Conference Committee at:
HGSA@luc.edu. Use the subject line Re: CFPapers Loyola History Grad Conference.
For more information about the conference, visit https://loyolahistoryconference.wordpress.com or our department webpage. For
any further questions, contact the HGSA Conference Committee at HGSA@luc.edu.
Sponsored by the History Graduate Student Association, Loyola University Chicago
Loyola University Chicago History Graduate Student Conference:
November 18, 2017
Loyola University Chicago Lake Shore Campus, Chicago, IL
Masters and doctoral graduate students in any field of historical study are invited to submit proposals to present individual research papers at Loyola’s Fourteenth Annual History Graduate Student Conference. In keeping with this year’s theme, Hearing Silences, we solicit presentations that address gaps in the historical record, especially those related to marginalized subjects. We welcome original research on any topic of historical interest, but encourage presenters to consider the ways in which historical silences hinder, motivate, or inform their scholarship. Potential frameworks may include, but are not limited to: borderlands and transnational studies, urban history, gender history, and public history. We also welcome papers about history projects in the digital humanities. The goal of this conference is to provide an opportunity for students to gain experience presenting original research projects and to receive feedback from their peers on their work. Certificates will be awarded to the top presenters.
Additionally, graduate and undergraduate students in any field of historical study are invited to submit proposals to present during our morning poster session. Posters may feature original research or showcase public history projects. Presentations related to the conference theme are especially encouraged. Certificates will be awarded to the top graduate and undergraduate poster presenters.
Individual proposals should include the submitter’s name, contact information, institutional affiliation(s), a one page abstract of the paper or poster (with a title), and a sentence listing up to three historical subjects your paper addresses (e.g. French history, sport history, gender). Please also include a brief biographical statement indicating your academic status along with a return address and current email address. Please note that submissions will be accepted as time and space permit.
The deadline for submissions is Friday, September 1, 2017. Please email your proposal to the HGSA Conference Committee at: HGSA@luc.edu. For papers, use the subject line Re: CFPapers Loyola History Grad Conference. For posters, use the subject line Re: CFPosters Loyola History Grad Conference.
This article originally appeared in the Spring 2016 issue of The Historian, the online quarterly published by the Rogers Park/West Ridge Historical Society. All photographs used courtesy of their image database. Matthew Amyx is a History PhD Student at Loyola University Chicago and the Public Media Team Leader for the RPWRHS.
Over the summer of 2015, a Change.org petition to expand or rebuild the Northtown Library collected over 600 signatures from the residents of West Ridge. The one-story building at 6434 N. California Ave. hosts 140,000 visitors each year, but it has not been renovated since opening in 1962. Petition-signers complain that the library, despite its popularity and the hard work of its staff, lacks space, needs more up-to-date technology, and offers community resources insufficient to reflect the diverse demographics of West Ridge. Additionally, they claim the library’s parking situation, practically limited to street parking in a busy neighborhood, severely inconveniences patrons. While the petition has received considerable support and is backed by 50th Ward Alderman Debra Silverman, residents will need to exercise patience. Pamela Stauffer, West Rogers Park Community Organization Chairwoman, anticipates a minimum budget of $6 million for the endeavor, which is still in its planning phase, and recent library projects in Chicago have taken four years or more to complete. The petition signers should not lose hope, however, as very similar grassroots appeals created the very successful previous incarnations of the Northtown Library.
The first Northtown Library opened on July 31, 1939 at 2502 Devon Ave. It had taken seven years of organizing and petitioning by the local Kiwanis Club, Northtown Women’s Club, Northtown Business Men’s Association, and PTA groups. By its one-year anniversary the branch, led by head librarian Marion Smith, had issued 6200 library cards and hosted 145,000 visitors and circulated nearly 200,000 books. The library building, a double storefront, quickly became one of the most popular in the city, attracting patrons from far outside of its district boundaries which ran west from Ridge Ave. to the canal and south from Farwell to Bryn Mawr.
The library’s programs quickly outgrew its space. In January 1942, Smith started a very popular Book Review Club, but it had to meet in clubrooms on Maplewood Avenue. The library offered very strong children’s programs, such as a “Bring Your Dolly” story hour started by Children’s Librarian Bernice Perley in January 1942. Soon the weekly story hours were drawing an average of 233 children, but the space only accommodated 60 chairs. This unacceptable situation led West Ridge community leaders to petition Mayor Kelly for an enlargement. Sponsors included pastors, Boy Scouts, business groups, women’s clubs, Kiwanis, and the American Legion. The city approved the purchase and conversion of the adjacent corner building, a tavern and store, into staff space and a much needed children’s room.
The Northtown Library made important contributions to community morale during World War II. It provided technical books to educate the defense workers that had flooded to Chicago. Families with members serving abroad checked out books on the countries where their loved ones were stationed. Smith told the Tribune that the library helped residents “take their minds off things for a while… These persons usually ask for mystery books – something which will challenge their brains and keep their minds occupied.” The library also offered avenues for the West Ridge community to aid those affected by the war. In July 1941, the library collected books to donate to locally stationed troops, and Perley organized a Girls’ Club that collected dolls for English war refugee children. In June 1945, the Northtown Library took part in a University of Chicago adult education program based on reading the classics, the first of several very popular Great Books programs that would occur on and off throughout the remainder of the 20th century.
In 1946, the library lost its lease on 2502 Devon, and moved two blocks over to 2710 Devon, away from the bustling business district. The library was still outgrowing its space, and in July 1947 the Edgebrook Library opened as a sub-branch of Northtown, with Elizabeth Vieser as assistant librarian under Smith. The space was painted blue and white and contained 3000 books, half for adults and half for children, with Northtown’s children’s librarians conducting the story hour there once a week. (The Edgebrook library has since moved three times and is now its own branch at 5331 W. Devon Ave.) Like today, space was constantly an issue during the period, with staff having to cram patrons in or find venues outside the library for programs. The advent of television dropped circulation some, but a fresh influx of families during West Ridge’s growth in the 1950s and 1960s brought it up again. Many empty-nesters became avid readers and brought their grandchildren to the library, bringing circulation in 1957 to 215,000. The demographics of the neighborhood were also becoming more diverse, and community members began organizing to petition the city for another expansion.
Construction bids began in September 1960 on the library’s current location, 6435 N. California Avenue, which opened January, 1962. 125 feet wide with red brick, the new building included space for 50,000 books (up from 28,000 in the previous location), a multi-purpose room for library-sponsored activities, citizenship and Americanization classes for West Ridge’s growing immigrant population, and air conditioning. This was the first location intended as a permanent space, as the Devon locations had all been rented. Interestingly, the 2710 Devon location suffered a $10,000 fire the week before the move, although most of the books had luckily already been transported. The new library opened with a new Chief Librarian as well, Mrs. Gertrude Gscheidle. Designed by City Architect Paul Gerhardt Jr., the building cost $174,438.00 to construct and $56,490.70 to furnish. Despite the expansion, the Northtown Library still struggled with containing and staffing its programs; by 1965 it had the largest circulation of any library in the north side district, with 272,051 books loaned. The library’s popularity continued throughout the century, claiming the highest circulation of any library in the system in 1986.
As the history of the library demonstrates, the Northtown branch has always struggled to find space for its programs. This difficulty is only exacerbated by the growing needs of an increasingly diverse population, and is made considerably worse by the lack of available parking. The library has very few dividing walls, and while this trait gives it an open feel it also prevents the existence of private study space. In the comments section of the Change.org petition page, many of the signers sadly stated that they drove to other libraries in the suburbs because they did not feel the present building could meet their needs. The petitioners can take heart, however, in knowing that the city has listened to West Ridge petitions in the past to expand or renovate the Northtown Library.