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    <title><![CDATA[Children and Youth in History]]></title>
    <link>http://cyh.rrchnm.org/items/browse/6?tag=North+America&amp;output=rss2</link>
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    <pubDate>Wed, 11 Aug 2021 03:25:50 +0000</pubDate>
    <managingEditor>chnm@gmu.edu (Children and Youth in History)</managingEditor>
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      <title><![CDATA[Japanese American Incarceration at Minidoka, Idaho, Interview [Oral History]]]></title>
      <link>https://cyh.rrchnm.org/items/show/315</link>
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                                    <div class="element-text">Japanese American Incarceration at Minidoka, Idaho, Interview [Oral History]</div>
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                                    <div class="element-text"><p>May K. Sasaki is a Nisei (2nd generation) Japanese American. She was born Kimiko May Nakamura in 1937 in Seattle. Her parents ran a small grocery store in Nihonmachi (Japantown). She had just turned six years old when Japanese Americans were ordered to leave military zones declared on the West Coast in spring 1942. She was incarcerated with her family at the Washington state fairgrounds at Puyallup, named "Camp Harmony" Assembly Center. After living in a converted animal stall for several months, the family was moved to the Minidoka incarceration camp, located in the high desert of south Idaho. Sasaki resettled in Seattle. In these interview excerpts, she discusses her childhood memories of the camps and experiencing shame and loss of Japanese American identity as a result of incarceration. Along with other former detainees, Sasaki received a presidential apology and partial reparations in the 1980s for being incarcerated without due process of law, solely on the basis of her Japanese ancestry.</p></div>
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                                    <div class="element-text">May K. Sasaki, interview, October 28, 1997, Seattle, Washington. From the Densho Digital Archive, &lt;a class=&quot;external&quot; href=&quot;http://www.densho.org/&quot;&gt;http://www.densho.org/&lt;/a&gt;. Interviewers: Lori Hoshino, Alice Ito, segments 14 and 15. Video, denshovh-smay-01-0014 (accessed October 14, 2009). Annotated by Patricia Kiyono.</div>
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                                    <div class="element-text">1997-10-28</div>
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                                    <div class="element-text">Densho: The Japanese American Legacy Project</div>
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                                    <div class="element-text">314, 316, 317, 318, 319, 320, 321, 322</div>
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                                    <div class="element-text">video/quicktime</div>
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                                    <div class="element-text">en</div>
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                                    <div class="element-text"><p>LH: So you arrived at Puyallup. And when you entered, do you recall any of the way it looked?</p>
<p>MS: Well, you know, it was a former fairgrounds, which I had never been there before, so I didn't know. But the one thing I remembered was the animal smells, you know, that's how fairs are. You have your animal smells. I remember that. That was very different for me, and then the living quarters, of course, were some of the stalls and some of the buildings. But we had one of the row of stalls and so therefore the smells were greater there. And I remember that there were cots and, for some reason, some kind of mattress. It wasn't the kind of mattress I was used to but, and then army blankets. And then we had the bare lightbulb hanging from the ceiling. And each stall is yea big, and there weren't ceilings. They did not come to the top, so the walls, excuse me, didn't come to the ceiling. So you could see all the way across. If you climbed up on something high, you could see all the way to the other end, and voice traveled all the way through.</p>
<p>LH: So you're all there together with your mother, your father, your two brothers, and yourself. And in a barrack?</p> 
<p>MS: Yes, we had one. [Laughs] It wasn't even a barrack -- it was a stall. It literally was a stall. And they told us it was temporary, so they just had to get us all assembled there so that they'll know which camps we're going to. So we had an idea that this was temporary and that's where we're supposed to get ready for this. So part of that was inoculations; we all had to have a series of shots.</p> 
<p>LH: Now, what was that to prevent?</p>
<p>MS: Diphtheria and small pox and you name it. But I remember having at least three or four because my arms were just sore and then there were scabs. You know, these black scabs that came out. [Laughs] And I remember feeling like that must be how cows and animals feel like. Because we were all lined up, and we had to have a couple shots at a time, 'cause they couldn't, we couldn't keep coming back. So I remember having two shots and then being very ill for at least. . . I felt ill about it, and a sore arm.</p>
<p>LH: I can imagine that's a pretty vivid memory for a six-year-old.</p>
<p>MS: I remember those things that were kind of painful, and that definitely was a painful time.</p> 
<p>LH: Do you recall -- is there any other memory that sort of sticks out in your mind about that time?</p>
<p>MS: Well, one of the things I thought were kind of strange was that we had the barbed wire fencing all around the fairgrounds. And there was a road that passed by close to the fairgrounds. And there were, they would bring busloads of non-Japanese people, and they would actually let 'em off and let them look at us like we were, you know, like we were caged animals. And I used to remember, "Why are they doing that?" But they actually came and looked at us while we were behind barbed wire fencing there. That was a little bit weird for me. I just remember we used to do gyrations. [Laughs]</p>
<p>LH: That's the first mention I've heard of these tour buses.</p>
<p>MS: Yeah. Well, they were either tour buses or buses that happened to stop by 'cause we were right along the main drag. And they actually let the people off and let 'em look at us and they'd go back. And I could hear them saying some things, you know, not quite understanding but just knowing that they were looking at us. So we must have been some kind of attraction for this group to come and look at us.</p>
<p>LH: And they were up against the barbed wire, looking in?</p>
<p>MS: Well, they didn't come too close to us 'cause we were near the wire and I think they were a little bit worried about what we might do.</p>
<p>LH: Were there ever any warnings from your parents about the barbed wire or the guards?</p>
<p>MS: Only that to obey whatever they told us to do. Only that. They didn't. . . I just. . . I have to say, I don't remember feeling threatened by them. Halfway just wondering why they were there and why they had guns. Because I couldn't imagine any of us doing anything. Of course, you know, I'm so young. Maybe the older folks might have been threatening to them, but I never felt, as a child, but everything is from a child, six-year-old's perspective.</p>
<p>LH: About how long were you at "Camp Harmony"?</p>
<p>MS: I think we were there for a few months. We weren't there for over that time. And then when my parents told us that we're going to be moving again, because I was wondering why they were getting the things all ready again. And I said, "Oh, where are we going?" Well, we're gonna. . . they said far away 'cause I wouldn't know where Minidoka was. So they said, "Far away," and enough so that we'd have to take a train to go there.</p></div>
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                                    <div class="element-text">May K. Sasaki, interview, October 28, 1997, Seattle, Washington. From the Densho Digital Archive, &lt;a class=&quot;external&quot; href=&quot;http://www.densho.org/&quot;&gt;http://www.densho.org/&lt;/a&gt;. Interviewers: Lori Hoshino, Alice Ito, segments 14 and 15. Video, denshovh-smay-01-0014 (accessed October 14, 2009).</div>
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                                    <div class="element-text">Lori Hoshino and Alice Ito</div>
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                                    <div class="element-text"><p>LH: So you arrived at Puyallup. And when you entered, do you recall any of the way it looked?</p>
<p>MS: Well, you know, it was a former fairgrounds, which I had never been there before, so I didn't know. But the one thing I remembered was the animal smells, you know, that's how fairs are. You have your animal smells. I remember that. That was very different for me, and then the living quarters, of course, were some of the stalls and some of the buildings. But we had one of the row of stalls and so therefore the smells were greater there. And I remember that there were cots and, for some reason, some kind of mattress. It wasn't the kind of mattress I was used to but, and then army blankets. And then we had the bare lightbulb hanging from the ceiling. And each stall is yea big, and there weren't ceilings. They did not come to the top, so the walls, excuse me, didn't come to the ceiling. So you could see all the way across. If you climbed up on something high, you could see all the way to the other end, and voice traveled all the way through.</p>
<p>LH: So you're all there together with your mother, your father, your two brothers, and yourself. And in a barrack?</p> 
<p>MS: Yes, we had one. [Laughs] It wasn't even a barrack -- it was a stall. It literally was a stall. And they told us it was temporary, so they just had to get us all assembled there so that they'll know which camps we're going to. So we had an idea that this was temporary and that's where we're supposed to get ready for this. So part of that was inoculations; we all had to have a series of shots.</p> 
<p>LH: Now, what was that to prevent?</p>
<p>MS: Diphtheria and small pox and you name it. But I remember having at least three or four because my arms were just sore and then there were scabs. You know, these black scabs that came out. [Laughs] And I remember feeling like that must be how cows and animals feel like. Because we were all lined up, and we had to have a couple shots at a time, 'cause they couldn't, we couldn't keep coming back. So I remember having two shots and then being very ill for at least. . . I felt ill about it, and a sore arm.</p>
<p>LH: I can imagine that's a pretty vivid memory for a six-year-old.</p>
<p>MS: I remember those things that were kind of painful, and that definitely was a painful time.</p> 
<p>LH: Do you recall -- is there any other memory that sort of sticks out in your mind about that time?</p>
<p>MS: Well, one of the things I thought were kind of strange was that we had the barbed wire fencing all around the fairgrounds. And there was a road that passed by close to the fairgrounds. And there were, they would bring busloads of non-Japanese people, and they would actually let 'em off and let them look at us like we were, you know, like we were caged animals. And I used to remember, "Why are they doing that?" But they actually came and looked at us while we were behind barbed wire fencing there. That was a little bit weird for me. I just remember we used to do gyrations. [Laughs]</p>
<p>LH: That's the first mention I've heard of these tour buses.</p>
<p>MS: Yeah. Well, they were either tour buses or buses that happened to stop by 'cause we were right along the main drag. And they actually let the people off and let 'em look at us and they'd go back. And I could hear them saying some things, you know, not quite understanding but just knowing that they were looking at us. So we must have been some kind of attraction for this group to come and look at us.</p>
<p>LH: And they were up against the barbed wire, looking in?</p>
<p>MS: Well, they didn't come too close to us 'cause we were near the wire and I think they were a little bit worried about what we might do.</p>
<p>LH: Were there ever any warnings from your parents about the barbed wire or the guards?</p>
<p>MS: Only that to obey whatever they told us to do. Only that. They didn't. . . I just. . . I have to say, I don't remember feeling threatened by them. Halfway just wondering why they were there and why they had guns. Because I couldn't imagine any of us doing anything. Of course, you know, I'm so young. Maybe the older folks might have been threatening to them, but I never felt, as a child, but everything is from a child, six-year-old's perspective.</p>
<p>LH: About how long were you at "Camp Harmony"?</p>
<p>MS: I think we were there for a few months. We weren't there for over that time. And then when my parents told us that we're going to be moving again, because I was wondering why they were getting the things all ready again. And I said, "Oh, where are we going?" Well, we're gonna. . . they said far away 'cause I wouldn't know where Minidoka was. So they said, "Far away," and enough so that we'd have to take a train to go there.</p></div>
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                                    <div class="element-text">October 28, 1997</div>
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                                    <div class="element-text">5:36</div>
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                                    <div class="element-text">Seattle, Washington</div>
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                                    <div class="element-text">May K. Sasaki</div>
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        <h3>Related Primary Sources</h3>
                                    <div class="element-text">314, 316, 317, 318, 319, 320, 321, 322</div>
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      <pubDate>Mon, 12 Oct 2009 20:22:54 +0000</pubDate>
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      <title><![CDATA[Schoolchildren at Minidoka incarceration camp, 1940s]]></title>
      <link>https://cyh.rrchnm.org/items/show/314</link>
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                                    <div class="element-text">Schoolchildren at Minidoka incarceration camp, 1940s</div>
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                                    <div class="element-text"><p>Minidoka incarceration camp, near Twin Falls in southern Idaho, was one of 10 incarceration camps run by the War Relocation Authority (WRA) that held citizens and non-citizens of Japanese descent during World War II. The 33,000 acres of arid desert were dominated by sagebrush, and residents contended with a harsh climate and poor living conditions. The camp was open from August 10, 1942, to October 28, 1945. The peak population was 9,397, from Washington, Oregon, and Alaska. Schools in the WRA camps were staffed by Caucasian employees and Japanese American detainees, who were paid much less than their white co-workers. Students were taught principles of U.S. democracy as part of the curriculum, and they recited the pledge of allegiance like children living in freedom. In 1988, President Ronald Reagan signed the Civil Liberties Act of 1988 that provided for a presidential apology and partial monetary redress for the unjust incarceration.</p></div>
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                                    <div class="element-text">&quot;Schoolchildren, Minidoka incarceration camp, Idaho, 1940s.&quot; Photograph. From Densho Digital Archive, &lt;a class=&quot;external&quot; href=&quot;http://www.densho.org/&quot;&gt;http://www.densho.org/&lt;/a&gt;. Courtesy of the Wing Luke Asian Museum, the Hatate Collection (Number 1992-41-4 AX), denshopd-i39-00038 (accessed October 14, 2009). Annotated by Patricia Kiyono.</div>
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                                    <div class="element-text">Densho: The Japanese American Legacy Project</div>
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                                    <div class="element-text">315, 316, 317, 318, 319, 320, 321, 322</div>
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                                    <div class="element-text">&quot;Schoolchildren, Minidoka incarceration camp, Idaho, 1940s.&quot; Photograph. From Densho Digital Archive, &lt;a class=&quot;external&quot; href=&quot;http://www.densho.org/&quot;&gt;http://www.densho.org/&lt;/a&gt;. Courtesy of the Wing Luke Asian Museum, the Hatate Collection (Number 1992-41-4 AX), denshopd-i39-00038 (accessed October 14, 2009).</div>
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                                    <div class="element-text">Black and white photograph of Japanese American children and two adults walking as a large group (appearance similar to a parade) through an incarceration center during World War II. Many children are carrying American flags. Appearance of camp is dry, dusty, and official.</div>
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                                    <div class="element-text">314, 315, 316, 317, 318, 319, 320, 321, 322</div>
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        </div><!-- end element-set --><div class="item-file image-tiff"><a class="download-file" href="/files/download/254/fullsize"><img src="/files/display/254/square_thumbnail" class="thumb" alt="Schoolchildren at Minidoka incarceration camp, 1940s" width="250" height="250"/>
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      <pubDate>Mon, 12 Oct 2009 20:09:22 +0000</pubDate>
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    <item>
      <title><![CDATA["Barbie Turns 21" [Magazine Article]]]></title>
      <link>https://cyh.rrchnm.org/items/show/310</link>
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                                    <div class="element-text">&quot;Barbie Turns 21&quot; [Magazine Article]</div>
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                                    <div class="element-text"><p>Barbie—who is today the most famous doll in the world—was based on Lilli, a sexy and sassy German doll first produced in 1955. Co-founder of Mattel Inc., Ruth Hander transformed the Teutonic doll from floozy to fashion queen for American girls like her daughter, Barbara, after whom the doll was named. In all other ways, Barbie’s shapely body was nearly indistinguishable from Lilli’s pleasing figure. A decade after Barbie’s debut in 1959, however, Mattel altered her features (e.g., eliminating the arched eyebrows, scarlet cosmetics, sideways glancing eyes) in order to make the teenage fashion model look more youthful and wholesome.<p>

<p>The photographs in "Barbie Turns 21" published in LIFE magazine make it possible to examine Barbie across two transformative decades in the history of American girls and gender. Along with other primary sources, Barbie dolls (including her outfits and accessories) can be "read" or interpreted for what they reveal about the influence of feminism on changing constructions of girlhood between 1959 and 1979.<p>
 
<p>What meanings can be expressed in a material object? Conduct an analysis of the chronologically arranged Barbies seen here by examining each doll and outfit. What values are embodied in Barbie and encoded in her wardrobe? Are there any cultural contradictions—such as independence v. dependence—embedded in the material culture evidence? In what ways do these ambiguities point to broader ambivalences about changes for girls in postwar America? How does the article’s text support or complicate your understandings?</p>  

<p>See also: "What Barbie Dolls Have to Say about Postwar American Culture," <a class="external" href="http://www.smithsonianeducation.org/idealabs/ap/essays/barbie.htm">
http://www.smithsonianeducation.org/idealabs/ap/essays/barbie.htm</a>.</p>
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                                    <div class="element-text">"Barbie Turns 21," <em>Life</em>, November, 1979. Photograph Copyright © 2009  Enrico Ferorelli. Annotated by Miriam Forman-Brunell.</div>
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                                    <div class="element-text">Miriam Forman-Brunell</div>
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                                    <div class="element-text"><h3>Barbie Turns 21</h3>

<p>What is no taller than a daisy, drives a Corvette and always, always gets invited to the prom? The Barbie doll, of course, the diminutive clotheshorse who will be 21 next year and still reigns as a princess in a court of girlhood heroines that includes Nancy Drew and Miss America. Barbie has been displayed at the Smithsonian, sealed in time capsules, and saluted by Betty Ford. Since Mattel, Inc. introduced her in 1959, more Barbies probably have been bought—112 million at last count—than any other doll. To celebrate her birthday Barbie threw a party at her new two-story Dream House. A flock of Barbies old and new turned out in a festive hodgepodge of dresses, jodhpurs and bikinis, bringing a mix of ever-courtly Kens in tow. The original doll, in her trademark striped swimsuit, stands behind the cake. At her side is the newest Barbie, who wears a dainty floor-length frock and blows kisses at the touch of a panel on her back. Despite the frowns of feminists, last year about $160 million worth of Barbies, similar dolls, their clothes, houses and other accoutrements were sold, making the fashion-doll business a stylish slice of the toy industry.</p>


<h3>Tiny Chic</h3>

<p>Before Barbie came along, dolls were cuddled, diapered and burped. But 11 ½ inch Barbie had a most unbabylike shape (5 ½-3-4 ¾), the fine-boned face of a model and 21 chic ensembles. She was meant to be dressed, coiffed and used, as her creator and ex-Mattel president Ruth Handler puts it, "to project every little girl's dream of the future." About a thousand outfits have been made for Barbie; the sheer number of them makes Mattel the top manufacturer of women’s clothing in the world. In the fashion parade on these pages, Barbies model a selection of the outfits that faithfully copied couture trends of the day such as bubble skirts (’59), snug sheaths (’61) and tailored suits (’66). They show an almost microscopic attention to detail, from hand-stitched hemlines to tiny gold buttons.</p>


	<h3>New Looks</h3>

<p>To stay in vogue, Barbie’s wardrobe has included midis, minis and maxis, granny gowns (’73) and goucho pants (’77). In ’71 she made an appearance as a tie-dyed rock singer; by last year she was sporting a peppy jogging outfit. Her face and hairstyles have also undergone an impressive series of changes, with the crimson lips and nails, heavy eye makeup, ponytails and pageboys gradually giving way to some 40 alterations. When Mattel discovered in the early ‘70s that brunettes and redheads weren’t selling, it began offering blond Barbies almost exclusively. The consistent best-seller is bronzed Malibu Barbie, introduced in ’71 (this year’s model shows 'suntan lines' under her bathing suit). Another favorite is Superstar Barbie (’77), whose toothy smile and glossy tresses bear an uncanny likeness to a certain ex-Charlie’s Angel. Transformations aside, however, Barbie retains her wholesome image. The frothy wedding gown, re-created annually, remains the most popular dress in Barbie’s collection.</p>
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                    <div class="element-text-empty">[no text]</div>
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        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/409/fullsize"><img src="/files/display/409/square_thumbnail" class="thumb" alt="&amp;quot;Barbie Turns 21&amp;quot; [Magazine Article]" width="250" height="250"/>
</a></div><div class="item-file image-jpeg"><a class="download-file" href="/files/download/410/fullsize"><img src="/files/display/410/square_thumbnail" class="thumb" alt="&amp;quot;Barbie Turns 21&amp;quot; [Magazine Article]" width="250" height="250"/>
</a></div><div class="item-file image-jpeg"><a class="download-file" href="/files/download/411/fullsize"><img src="/files/display/411/square_thumbnail" class="thumb" alt="&amp;quot;Barbie Turns 21&amp;quot; [Magazine Article]" width="250" height="250"/>
</a></div><div class="item-file image-jpeg"><a class="download-file" href="/files/download/412/fullsize"><img src="/files/display/412/square_thumbnail" class="thumb" alt="&amp;quot;Barbie Turns 21&amp;quot; [Magazine Article]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Sun, 11 Oct 2009 21:27:34 +0000</pubDate>
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      <title><![CDATA[Tags and Throws on a SoHo Side Street [Graffiti]]]></title>
      <link>https://cyh.rrchnm.org/items/show/309</link>
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                                    <div class="element-text">Tags and Throws on a SoHo Side Street [Graffiti]</div>
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                                    <div class="element-text"><p>This photo shows a wall covered in "tags" and "throws" along a commonly-traveled side street that runs through the SoHo area of Manhattan, which is one of New York City's major museum and art gallery districts. Tags were the first form of graffiti art, originated in the late 1960s, and are linear signatures quickly written with spray paint and markers, usually taking 15 seconds or less to complete. The larger works are 'throws" (or "throw-ups"), large initials or names quickly spray-painted in a light color with a dark outline in a "bubble" letter style, usually taking a minute or less to complete. Tags and throws are usually the first forms that a new graffiti artist attempts to master, but they are also intended to maintain an artist's competitive visibility.</p>
<p>As with rooftops and schoolyards, street-level buildings became a common place for graffiti artists to paint after the painting on the subways was contained in the mid-1980s. Like the sides of the subway trains, the walls became a visual record of an ongoing competition and conversation among graffiti writers. The streets are the most risky place for writers to work, hence the necessity of quickness in execution, and it also explains why there are very few of the more elaborate pieces visible in most areas of the city.</p></div>
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                                    <div class="element-text">Joe Austin, personal photograph.</div>
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                                    <div class="element-text">303, 306, 307, 308
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            </div><!-- end element -->
            <div id="additional-item-metadata-provenance" class="element">
        <h3>Provenance</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-citation" class="element">
        <h3>Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-spatial-coverage" class="element">
        <h3>Spatial Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights-holder" class="element">
        <h3>Rights Holder</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Still Image Item Type Metadata</h2>
        <div id="still-image-item-type-metadata-physical-dimensions" class="element">
        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-image-description" class="element">
        <h3>Image Description</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/246/fullsize"><img src="/files/display/246/square_thumbnail" class="thumb" alt="Tags and Throws on a SoHo Side Street [Graffiti]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Tue, 06 Oct 2009 19:59:10 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/246/fullsize" type="image/jpeg" length="962291"/>
    </item>
    <item>
      <title><![CDATA[Queens Rooftops, Seen from a Subway Platform [Graffiti]]]></title>
      <link>https://cyh.rrchnm.org/items/show/308</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Queens Rooftops, Seen from a Subway Platform [Graffiti]</div>
                    </div><!-- end element -->
            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-description" class="element">
        <h3>Description</h3>
                                    <div class="element-text"><p>A main goal for almost all graffiti artists is to be seen by other artists or appreciative peers, as well as the typical New York City passers-by. In the mid-1980s, after more than 15 years effort, the New York City Transit Authority was successful in preventing painted trains from circulating through the subway system. Since their works could no longer circulate through the city on subways, many graffiti writers turned to the walls to maintain visibility. Along with bridge works, highway retaining walls, schoolyards, and handball courts, rooftops became a favored "spot," particularly those along the elevated subway lines.</p>

<p>This photograph, taken from a subway platform in Queens, shows two elaborate pieces on a rooftop, with other works in the distance. Like most graffiti art, rooftops are usually painted at night in the company of friends who keep watch for police. In a densely-packed city like New York, the rooftops are often connected along the entire block, allowing artists to move easily from one to the other.</p>
</div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Joe Austin, personal photograph.</div>
                    </div><!-- end element -->
            <div id="dublin-core-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-contributor" class="element">
        <h3>Contributor</h3>
                                    <div class="element-text">Joe Austin</div>
                    </div><!-- end element -->
            <div id="dublin-core-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-relation" class="element">
        <h3>Relation</h3>
                                    <div class="element-text">303, 306, 307, 309</div>
                    </div><!-- end element -->
            <div id="dublin-core-format" class="element">
        <h3>Format</h3>
                                    <div class="element-text">image/jpeg</div>
                    </div><!-- end element -->
            <div id="dublin-core-language" class="element">
        <h3>Language</h3>
                                    <div class="element-text">en</div>
                    </div><!-- end element -->
            <div id="dublin-core-type" class="element">
        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-identifier" class="element">
        <h3>Identifier</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-coverage" class="element">
        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-local-url" class="element">
        <h3>Local URL</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-online-submission" class="element">
        <h3>Online Submission</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-posting-consent" class="element">
        <h3>Posting Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-submission-consent" class="element">
        <h3>Submission Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-edit" class="element">
        <h3>Process Edit</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-annotate" class="element">
        <h3>Process Annotate</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-review" class="element">
        <h3>Process Review</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-website-image" class="element">
        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-analyzing-sources" class="element">
        <h3>Analyzing Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-source" class="element">
        <h3>Source</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-bibliographic-citation" class="element">
        <h3>Bibliographic Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-provenance" class="element">
        <h3>Provenance</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-citation" class="element">
        <h3>Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-spatial-coverage" class="element">
        <h3>Spatial Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights-holder" class="element">
        <h3>Rights Holder</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Still Image Item Type Metadata</h2>
        <div id="still-image-item-type-metadata-physical-dimensions" class="element">
        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-image-description" class="element">
        <h3>Image Description</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/248/fullsize"><img src="/files/display/248/square_thumbnail" class="thumb" alt="Queens Rooftops, Seen from a Subway Platform [Graffiti]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Tue, 06 Oct 2009 19:57:05 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/248/fullsize" type="image/jpeg" length="797641"/>
    </item>
    <item>
      <title><![CDATA[Bronx Schoolyard [Graffiti]]]></title>
      <link>https://cyh.rrchnm.org/items/show/307</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Bronx Schoolyard [Graffiti]</div>
                    </div><!-- end element -->
            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-description" class="element">
        <h3>Description</h3>
                                    <div class="element-text"><p>From left to right, this photograph shows four graffiti artists at work on a collaborative "production" in a Bronx schoolyard: DEATH, NIC 1, MEX, and NOX. A "production" is a planned, multi-artist work typically unified by a visual theme in the background that is usually painted last, after each artist has finished with their name. The artist who organized this production whitewashed the wall the evening before, and for this production, also produced official-looking (but false) documents with signatures stating that the artist had the school principal's permission to paint. The documents were enough to convince three separate police squads that drove into the yard during the seven-hour painting event.</p> 

<p>Although some artists sketch their works on paper before executing them on a wall, most improvise on the spot unless the work is accompanied by "characters" (figures, often borrowed from popular culture sources like movies and comic books). A sketch of a "Karate Kid" character can be seen on the far left work, near the fellow in the red shirt. Also, the sketch and fill-in process of creating larger pieces is evident in the two works-in-progress on the left (DEATH and NIC 1). Note that the production is a social event, with friends and admirers (and their children) watching, and a boom box playing music.</p>
</div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Joe Austin, personal photograph.</div>
                    </div><!-- end element -->
            <div id="dublin-core-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-contributor" class="element">
        <h3>Contributor</h3>
                                    <div class="element-text">Joe Austin</div>
                    </div><!-- end element -->
            <div id="dublin-core-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-relation" class="element">
        <h3>Relation</h3>
                                    <div class="element-text">303, 306, 308, 309</div>
                    </div><!-- end element -->
            <div id="dublin-core-format" class="element">
        <h3>Format</h3>
                                    <div class="element-text">image/jpeg</div>
                    </div><!-- end element -->
            <div id="dublin-core-language" class="element">
        <h3>Language</h3>
                                    <div class="element-text">en</div>
                    </div><!-- end element -->
            <div id="dublin-core-type" class="element">
        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-identifier" class="element">
        <h3>Identifier</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-coverage" class="element">
        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-local-url" class="element">
        <h3>Local URL</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-online-submission" class="element">
        <h3>Online Submission</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-posting-consent" class="element">
        <h3>Posting Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-submission-consent" class="element">
        <h3>Submission Consent</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-edit" class="element">
        <h3>Process Edit</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-annotate" class="element">
        <h3>Process Annotate</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-process-review" class="element">
        <h3>Process Review</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-website-image" class="element">
        <h3>Website Image</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-analyzing-sources" class="element">
        <h3>Analyzing Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-source" class="element">
        <h3>Source</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-bibliographic-citation" class="element">
        <h3>Bibliographic Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-provenance" class="element">
        <h3>Provenance</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-citation" class="element">
        <h3>Citation</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-spatial-coverage" class="element">
        <h3>Spatial Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-rights-holder" class="element">
        <h3>Rights Holder</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="additional-item-metadata-temporal-coverage" class="element">
        <h3>Temporal Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Still Image Item Type Metadata</h2>
        <div id="still-image-item-type-metadata-physical-dimensions" class="element">
        <h3>Physical Dimensions</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-image-description" class="element">
        <h3>Image Description</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="still-image-item-type-metadata-related-primary-sources" class="element">
        <h3>Related Primary Sources</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/245/fullsize"><img src="/files/display/245/square_thumbnail" class="thumb" alt="Bronx Schoolyard [Graffiti]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Tue, 06 Oct 2009 19:53:13 +0000</pubDate>
      <enclosure url="https://cyh.rrchnm.org/files/download/245/fullsize" type="image/jpeg" length="804750"/>
    </item>
    <item>
      <title><![CDATA[Hash Masterpiece, Brooklyn Schoolyard [Graffiti]]]></title>
      <link>https://cyh.rrchnm.org/items/show/306</link>
      <description><![CDATA[<div class="element-set">
    <h2>Dublin Core</h2>
        <div id="dublin-core-title" class="element">
        <h3>Title</h3>
                                    <div class="element-text">Hash Masterpiece, Brooklyn Schoolyard [Graffiti]</div>
                    </div><!-- end element -->
            <div id="dublin-core-subject" class="element">
        <h3>Subject</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-description" class="element">
        <h3>Description</h3>
                                    <div class="element-text"><p>In graffiti artists' terminology, this work is called a "masterpiece," or more commonly, a "piece." It was painted on a Brooklyn high school's retaining wall in the mid-1990s, and was one among about 50 such works in the schoolyard (sections of the adjoining pieces can be seen at the ends). This piece is approximately 20 feet long by 6 feet high, and probably took the artist about 3-4 hours of steady work and about 4 to 6 cans of spray paint to complete.</p>

<p>Rather than write their "birth" names, graffiti artists design a new name for themselves, usually based on the visual qualities of the letters and/or puns and cultural associations of the selected word. Illegibility can be a measure of skill, demonstrating the artist’s ability to creatively distort letters to produce abstract and unexpected (but striking) visual patterns. Many graffiti artists working in this more abstract mode are known by their individual "style," even if few can read the words they write.</p>
</div>
                    </div><!-- end element -->
            <div id="dublin-core-creator" class="element">
        <h3>Creator</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-source" class="element">
        <h3>Source</h3>
                                    <div class="element-text">Joe Austin, personal photograph.</div>
                    </div><!-- end element -->
            <div id="dublin-core-publisher" class="element">
        <h3>Publisher</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-date" class="element">
        <h3>Date</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-contributor" class="element">
        <h3>Contributor</h3>
                                    <div class="element-text">Joe Austin</div>
                    </div><!-- end element -->
            <div id="dublin-core-rights" class="element">
        <h3>Rights</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-relation" class="element">
        <h3>Relation</h3>
                                    <div class="element-text">303, 307, 308, 309</div>
                    </div><!-- end element -->
            <div id="dublin-core-format" class="element">
        <h3>Format</h3>
                                    <div class="element-text">image/jpeg</div>
                    </div><!-- end element -->
            <div id="dublin-core-language" class="element">
        <h3>Language</h3>
                                    <div class="element-text">en</div>
                    </div><!-- end element -->
            <div id="dublin-core-type" class="element">
        <h3>Type</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-identifier" class="element">
        <h3>Identifier</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
            <div id="dublin-core-coverage" class="element">
        <h3>Coverage</h3>
                    <div class="element-text-empty">[no text]</div>
            </div><!-- end element -->
        </div><!-- end element-set --><div class="element-set">
    <h2>Additional Item Metadata</h2>
        <div id="additional-item-metadata-transcription" class="element">
        <h3>Transcription</h3>
                    <div class="element-text-empty">[no text]</div>
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        </div><!-- end element-set --><div class="item-file image-jpeg"><a class="download-file" href="/files/download/247/fullsize"><img src="/files/display/247/square_thumbnail" class="thumb" alt="Hash Masterpiece, Brooklyn Schoolyard [Graffiti]" width="250" height="250"/>
</a></div>]]></description>
      <pubDate>Tue, 06 Oct 2009 19:50:45 +0000</pubDate>
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      <title><![CDATA[The Phoenix Indian School, 1896 [Newspaper Article]]]></title>
      <link>https://cyh.rrchnm.org/items/show/295</link>
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                                    <div class="element-text">The Phoenix Indian School, 1896 [Newspaper Article]</div>
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                                    <div class="element-text"><p>"Phoenix Indian School; Largest in the Southwest and Second Largest in the Country: Need of Military Garrisons in Arizona Grow Less as this School increases Its Influence Among the Nation's Wards -- Over One Hundred and Fifty Boys and Girls," read the headline of the <em>New York Times</em> article written by a journalist after a visit to the school on July 5, 1896. The Phoenix Indian School was one of some 150 institutions for Indian wards of the U.S. Government founded as the Indian wars concluded. The schools' mission was to "civilize" and assimilate the Indians to American society through a process of education that sought to obliterate their native cultures. The model of organization and discipline was military. Student life was highly regimented, with little free time, uniforms and marching drills. Boys and girls were subject to whipping and jailing, the latter a punishment for runaways. Students at the schools performed school maintenance, cleaning, cooking, laundering, caring for farm animals and crops, and selling their handmade crafts. Students were also put out to work locally as domestics and farm laborers for further acculturation and to provide work experience. School officials did not envision preparing Native-American students for higher education. The article expresses the attitudes and expectations of the journalist. It also reflects the ways in which the reporter's views were both validated and revised. The article that appeared in a major newspaper reinforced stereotypes about native American children, affirmed the success of the school's "civilizing mission," and  testified to the correctness of the assumption that environment could re-shape the children's identity and override their upbringing.</p></div>
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                                    <div class="element-text"><em>New York Times</em>, "Phoenix Indian School; Largest in the Southwest and Second Largest in the Country," July 5, 1896,  <a class="external" href="http://query.nytimes.com/gst/abstract.html?res=9E07EFD71730E033A25756C0A9619C94679ED7CF">http://query.nytimes.com/gst/abstract.html?res=9E07EFD71730E033A25756C0A9619C94679ED7CF</a> (accessed July 1, 2009).</div>
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                                    <div class="element-text">Susan Douglass</div>
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                                    <div class="element-text"><p>Phoenix, Arizona, July 4 – The largest Indian school in the Southwest and the second largest in the Union is that in the Salt River Valley, near this place. It is unique in several respects. It is patronized by the Apaches, the Pimas, and the Maricopahs, who have until the past two years been the most lawless, intractable, and savage tribes Uncle Sam has had to deal with.</p>
<p>The fifty-seven Pima and Apache girls in the school under the supervision of the matron, learn to cook, wash, sew, and perform all other household duties, in addition to their study of the English language. The superintendent of the school finds the Indian girls less tractable to book learning than the boys, but they have a zeal for neatness in sewing and knitting that is astonishing. Very few of the girls have any taste for arithmetic and the forms of language, but they love to execute brightly colored maps and to draw. They are always much more reserved and diffident than their red-skinned brothers. The boys are handsome fellows, from fourteen to twenty-one years of age, and during certain hours of the day they are compelled to attend to the duties of the farm. They do not do this reluctantly, as one might suppose, but with good will and an apparent anxiety to learn. They are dressed in uniform, their hair kept closely trimmed, and they show their appreciation of the change from almost absolute nudity by keeping their shoes polished and their clothes nicely brushed. In the classroom they excel in arithmetic and spelling, and any exercise that brings the blackboards into use wins their attention. Strange as it may appear, they have not the least liking for exercising in the gymnasium, but in out-of-door sports, such as running races, leaping, and vaulting, they are very proficient.</p>
<p>A recent visit to the Indian school was a revelation in some respects. The writer has known the Pima Indians on their reservation as a fierce, sullen, obstinate, and cruel lot of savages, with a record second to not even the Apaches for horrible butcheries of white settlers and unspeakable barbarities upon their enemies in warfare. It was therefore a surprise to see over 150 of the boys and girls of these desert savages come marching into the chapel with military precision, dressed in handsome, neat-fitting garments, wearing linen shirts, and with their hair brushed with as much nicety as that of a city dude.</p> 
<p>The surprise did not end there. When the opening hymn was announced one of Apache girls that five months before was running wild on the desert south of the Gila readily turned to the number, and, handing the writer the book, asked in good English if he would not take part with them.</p>
<p>Some of them sing splendidly, and Prof. Rich, the Superintendent of the school, says that they are natural musicians. Several of the younger ones have learned to play the organ, and with the French harp they will make an average city gamin ashamed of himself. Hugh Patten, one of the monitors, plays the piano very well, having picked the accomplishment up without any instruction, only being aided by his natural aptitude for music. This Indian is a peculiarity in Indian life. Some years ago he learned the English language, and acted as an interpreter from that time till the opening of the school, which he entered, where he has since remained. He discarded his Indian name and assumed an English one, and in the three years he has acquired a good English education. He is of medium size, rather dark, but with the prepossessing appearance of a student. He has done much to induce his people to adopt civilization, and is , of course, a warm friend of the school.</p>
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      <pubDate>Wed, 09 Sep 2009 01:06:30 +0000</pubDate>
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      <title><![CDATA[UNICEF Data on Orphans by Region to 2010 [Chart]]]></title>
      <link>https://cyh.rrchnm.org/items/show/293</link>
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                                    <div class="element-text">UNICEF Data on Orphans by Region to 2010 [Chart]</div>
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                                    <div class="element-text"><p>The definition of an orphan for statistical purposes is a child under 18 years old who has lost one or both parents. A single orphan is a child who has lost one parent, a double orphan is a child who lost both parents. A maternal orphan is a child whose mother died, while a paternal  orphan has lost the father. Crises such as disease or famine that affect children increase the rate of growth of orphans in the population. For statistical purposes, children are no longer considered orphans after they reach 18 years of age. Therefore, the number of orphans in a population group increases if the number of children losing their parents exceeds the number of orphans turning 18, causing the percentage of orphans in that population to rise also.</p>

<p>The data in the two charts were compiled and published by UNICEF, the United Nations Children’s Fund, drawn from numerous organizations concerned with the global AIDS/HIV epidemic. As the bar graph shows, while the number of orphans in Asia has declined during the period from 1990 to 2010 (the latter based on projections), and has remained fairly stable in Latin America and the Caribbean, there has been a steady increase in the number of orphans in Sub-Saharan Africa. Data is not given for the number of children in Asia who have been orphaned by HIV and other causes, but that figure is likely significant.</p>

<p>Figures for Africa show that in the benchmark years of 1990, 1995, 2000, and 2005, the percentage of children orphaned in sub-Saharan African countries as a result of AIDS rose sharply from 1% to 7% to 17% to 25%, and is projected to reach 30% of all orphans by 2010. Among them are over 10 million children who have lost both parents. AIDS is the leading cause of death among adults ages 15-59, and it has produced 12 million orphans in the region. The rates of HIV deaths are not uniform across Sub-Saharan Africa, but are much higher in southern Africa, where as many as 15% of all children are orphans.  Behind these figures is a tremendous toll of human suffering.  Older children may act as caregivers for their parents or siblings who are ill, or grandparents may have to raise their grandchildren. Poor nutrition, inability to attend school, inability to concentrate, emotional trauma and depression are among the most serious effects, and children whose families have been touched by AIDS may also be stigmatized by others, further worsening these effects.</p> 
<p><a class="external" href="http://chnm.gmu.edu/cyh/images/African_orphans_handout.pdf">Download PDF here.</a></p></div>
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                                    <div class="element-text">The United Nations Children's Fund, <em>Africa's Orphaned and Vulnerable Generations: Children Affected by Aids</em>, "Africas_Orphaned_and_Vulnerable_Generations_Children_Affected_by_AIDS.pdf (application/pdf Object)," <a class="external" href="http://www.unicef.org/publications/files/Africas_Orphaned_and_Vulnerable_Generations_Children_Affected_by_AIDS.pdf">http://www.unicef.org/publications/files/Africas_Orphaned_and_Vulnerable_Generations_Children_Affected_by_AIDS.pdf</a> (accessed July 14, 2009). Annotated by Susan Douglass.</div>
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      <pubDate>Mon, 07 Sep 2009 22:26:28 +0000</pubDate>
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      <title><![CDATA[Millennium Development Goals: Child Mortality 2009 [Chart]]]></title>
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                                    <div class="element-text">Millennium Development Goals: Child Mortality 2009 [Chart]</div>
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                                    <div class="element-text"><p>The <a class="external" href="http://www.unmillenniumproject.org/goals/index.htm">Millennium Development Goals</a> (MDGs) are eight goals related to poverty, education, gender equality, health, environmental sustainability and development set in the year 2000 at the UN Millennium Summit, and adopted by 189 nations. The eight MDGs are associated with 21 quantifiable targets, tracked by 60 statistical indicators in <a class="external" href="http://www.undp.org/mdg/basics_ontrack.shtml"> annual  reports</a> issued by the United Nations Development Programme (UNDP). The goals target attainment in the year 2015. <a class="external" href="http://www.undp.org/mdg/tracking_countryreports2.shtml">Country-by-country data</a> is also available.</p> 
<p>This chart tracks infant mortality according to the rate of infant (under five years old) deaths per 1000 live births in most world regions, except Northern America. Aggregate figures for developed and developing regions highlight the stark disparity in infant mortality rates. More than 12 times as many children die young in developing regions as in developed regions. In 1990, child mortality was 9 times higher than in 2007. While the total number of young children who died early in life decreased from 12.6 million in 1990 to about 9 million today, some regions show little progress during that period. In Sub-Saharan Africa, for example, nearly 1 in 7 children dies before the age of five, amounting to half of all such deaths worldwide. According to experts in public health, most of these deaths are from preventable causes.</p> 
<p>Significant gains have been achieved worldwide by increasing immunization for childhood diseases and use of vitamins, treating mothers to prevent transmission of the HIV virus to their infants, encouraging mothers to breastfeed, and providing insecticidal bednets to prevent malaria. Other measures include improving access to clean water and improving sanitation, especially in rural areas. Improved pre-natal and birthing care, and education for mothers are other important factors that can help support further declines in infant mortality.</p>
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                                    <div class="element-text">United Nations, Millennium Development Goals Report 2009, &quot;MDG Report 2009 ENG.pdf (application/pdf Object).&quot; &lt;a class=&quot;external&quot; href=&quot;http://www.un.org/millenniumgoals/pdf/MDG%20Report%202009%20ENG.pdf&quot;&gt;http://www.un.org/millenniumgoals/pdf/MDG%20Report%202009%20ENG.pdf&lt;/a&gt; (accessed July 7, 2009).</div>
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                                    <div class="element-text">Susan Douglass</div>
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                                    <div class="element-text">279, 285, 286, 287, 288</div>
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</a></div>]]></description>
      <pubDate>Mon, 07 Sep 2009 22:07:47 +0000</pubDate>
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