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1998 Newsletter Archive
AGGRESSIVE OUTREACH: USING THE LESSONS OF BUSINESS
AT THE AANA ARCHIVES
Lee C. Fosburgh, Archivist, AANA
Introduction
In 1931, the American Association of Nurse Anesthetists (AANA) was established
as the professional association of nurse anesthetists in the United States. In
1989, the publication of the history of America's nurse anesthetists by the AANA
generated member interest in the history of nurse anesthesia. This ultimately
led to the creation of the AANA Archives in the fall of 1994 for the purpose of
making its records available for research to members, students, staff and
approved researchers. As a small new unit within AANA's large headquarters,
charged with serving a mostly member clientele who often knew little about the
archives holdings, one of the archivist's major responsibilities quickly became
aggressively promoting the archives based on user interests and needs.
The following case study on archival outreach can be used as a primer for
association archivists on how to situate the archives in a high profile position
within an association. The case study argues archivists must anticipate, plan
and participate in all publicity campaigns that promote either the archives or
the history of the association. To accomplish this goal, an archivist can
cost-effectively use the association's preexisting network of meetings,
publications, audio-video productions and mass mailings to disseminate
information. High profile endeavors, such as anniversaries and oral history
projects, will go a long way toward justifying the archives existence by
defining its image to leadership. Archivists can also use subtle methods of
outreach such as staff meetings to promote confidence in the archives. The
AANA's methods of outreach, such as marketing strategies, are borrowed from both
archival outreach and business archives literature.
History of Nurse Anesthesia
Nurses were the first professional group to provide anesthesia services in the
United States. Established in the late 1880s as the first clinical nursing
specialty, nurse anesthesia developed in response to the growing need of
surgeons for trained anesthetists. Although the identity of the first nurse
anesthetist is not known, the earliest on record was Sister Mary Bernard, a
Catholic nun from Wichita, Kansas in 1887. The most famous nurse anesthetist of
the nineteenth century, Alice Magaw, worked at St. Mary's Hospital (1889), in
Rochester, Minnesota, which later became part of the Mayo Clinic. Magaw earned
international respect and the sobriquet "the mother of anesthesia" for her
mastery of open drop inhalation anesthesia.
Many important advances have been made by nurse anesthetists. They participated
in the development of the equipment for utilizing certain anesthesia techniques;
they pioneered in anesthesia for specialty surgery, particularly related to
heart and lung surgery; and they established the first formal education training
programs in anesthesia (1909).
Additionally, nurse anesthetists served as the principal anesthesia provider in
combat areas in every war the United States has been engaged in since World War
I. In World War II, there were 17 nurse anesthetists to every physician
anesthetist and, in Vietnam War, the ratio was approximately 3:1. Nurse
anesthetists were sent with the fighting forces during the invasion of Panama
and Operation Desert Shield/Desert Storm.1
Creation of the AANA
The AANA, originally named National Association of Nurse Anesthetists, was
founded in 1931 making it the oldest specialty nursing organization in the
United States. The AANA represents Certified Registered Nurse Anesthetists (CRNA's)
and nurse anesthesia students nationwide. The AANA implemented a certification
process for nurse anesthetists in 1945, and developed an accreditation program
for nurse anesthesia education in 1952. The credentialing processes are broadly
recognized by appropriate public and private agencies. The AANA was a leader in
forming multidisciplinary councils with public representation in order to
fulfill the profession's autonomous credentialing functions. The AANA, as a
professional association, promulgates education and practice standards, position
statements and guidelines for the nurse anesthesia profbssion.2
AANA Membership Today
The AANA has approximately 27,000 members. According to the 1991 AANA membership
survey, CRNA's administer more than 65% of the 26 million anesthetics given to
patients each year in the United States. As the sole anesthesia providers in 85%
of rural hospitals CRNA's afford these medical facilities obstetrical, surgical,
and trauma stabilization capabilities. In the administration of anesthesia,
CRNA's perform the same functions as anesthesiologists. CRNA's provide
anesthetics to patients in collaboration with surgeons, anesthesiologists,
dentists, podiatrists or other qualified physicians.3
Creation of the AANA Archives
The publication of Marianne Bankert's Watchful Care: A History of AmericaĀs
Nurse Anesthetists by the AANA in 1989 generated interest in the history of
nurse anesthesia that ultimately led to the creation of the AANA Archives.
Watchful Care expanded on the first historical treatment of nurse anesthetists'
contributions by Virginia S. Thatcher in her History of Anesthesia with Emphasis
on the Nurse Specialist published in 1953. Prior to History of Anesthesia,
nursing's contribution to anesthesia history had been overlooked or denigrated
by other historians. Thomas E Keys, in The History of Surgical Anesthesia,
considered the premier history of surgical anesthesia, fails to mention the
contributions of nurse anesthetists.4 Even today, historical publications,
usually by anesthesiologists, prefer to not mention working relationships
between nurse anesthetists and medical doctors.5 Watchful Care contributed
significantly to the public's understanding about nurse anesthetists by arguing
that nurses have overcome economic and gender-based obstacles to retain the
right to administer anesthesia. The book also educated many nurse anesthetists
to their own heritage, and thereby generated among them a renewed interest in
their profession and association's history.
An exhibit entitled "Marking CRNA Footsteps in History," created for the 1990
AANA Spring Assembly of States, displayed important documents, photographs and
memorabilia dating back to the founding of the AANA. The exhibit drew attention
to the fact the AANA possessed a large and valuable historical collection. The
material had been stored in both an attic and a basement which suffered from
periodic floods. Although the records were under the auspices of the AANA
Library, they were not easily accessible since they were not inventoried. A
history focus session was held to assess the level of interest in history and
educate members to its importance at the 1992 AANA Annual Meeting. A proposal
for a formal archival program was considered by the AANA Board of Directors, and
funds were appropriated to hire a staff archivist in 1993. Key staff members
visited the well-established Oncology Nurses Society Archives in Pittsburgh on a
fact-finding mission in April 1994. At AANA, a full-time archivist was hired to
begin the overall program in October 1994. 6
Collections
The AANA Archives Mission Statement charges the Archives with the
"responsibility of making available for research official AANA records of
sufficient historical, legal, and administrative value to warrant permanent
preservation. Official AANA records include documentation in any form produced
or received by any employee or member of AANA while engaged in official AANA
business." The AANA Archives consists of record groups representing AANA's
committees, offices and subsidiary organizations. The records are used by AANA
members, students, staff and approved researchers. AANA staff uses the Archives
to document past decisions or to research the history of their department or
committees under the auspices of their department. Nurse anesthesia students use
the Archives for the completion of theses or dissertations. The AANA Archives
Access Policy relates the fact that, as in most private institutions, the AANA's
collection is available for research to membership, leadership, nurse anesthesia
students and office staff . The Access Policy permits other researchers to use
the AANA's collections with the approval of the executive director. Approved
researchers commonly request reproduction photographs and permission to publish
them in nursing and medical journals.
The AANA records document such topics as: the role of early members, such as
Agatha C. Hodgins, in founding the association; the struggle to establish the
legality of nurse anesthetists (1934); and the inclusion of African-Americans
(1944) and male nurse anesthetists (1947) into membership. In addition to
pursing aggressive records management and oral history programs to capture
administrative documentation and the viewpoint of the leaders, respectively, the
archives collects the papers of individuals and records of organizations engaged
in work which is reflective of the mission of the AANA. The Archives provides a
broader context for the history of nurse anesthesia by serving as the official
repository for the International Association of Nurse Anesthetists which was
founded in Lucerne, Switzerland, in June 1985 and through a rare collection of
anesthesia text books (1860-1959).7
Outreach "Within" the Association:
Identifying and Marketing Potential Users
Based on its mission statement, the AANA Archives outreach program broadly
targets the association's members, nurse anesthesia students, leadership, office
staff and approved researchers. In 1978, Elsie Freeman argued that archives
serve the different needs of researchers and the goal of any archives outreach
program should be to identify the needs of its users and to match the service to
their needs.8 A user study has not been conducted by the AANA Archivist because
the user base within the nurse anesthesia community is well-defined and use by
outside researchers is not promoted. Philip F. Mooney suggests in his article,
"Modest Proposals: Marketing Ideas for the Expansionist Archives," that
archivists use marketing techniques such as "targeting" to increase potential
user groups. Mooney states, "Viewing their collections in the same light that
marketing executives view their commercial products may be helpful exercise for
information professionals who have little experience in advertising or promoting
their collections. "9 All archival user groups have different appetites and
tastes when it comes to research. Even more important, a broad range of
offerings is needed since every audience is different.
The diversity of research needs among AANA researchers articulates this point.
AANA membership, which includes both CRNA's and students from nurse anesthesia
schools, is interested in both scholarly research and general history pertaining
to nurse anesthesia. AANA leadership, prefers to be involved high profile
historical events such as oral history projects, commemorations, and
dedications. The archivist targets what people should be interviewed or which
past events warrant a commemoration or dedication. The archivist even writes
speeches for leadership for such occasions. The office staff is concerned with
the management of active and inactive records produced by their respective
departments.
Cost-effective Outreach: Using Preexisting Frameworks
- Through the use of broad marketing techniques such as publications, and
the use of the preexisting association information distribution framework,
the archivist
is able to get the archives message to potential users. A good outreach program
will enhance the archives image to membership, leadership, and potential
researchers. In many situations, archivists must convince their public and
employers that archives are vital to the mission of the association or company.
10 Associations, such as the AANA, already have in place a preexisting framework
for efficient, cost-effective distribution of information about its holdings.
The archivist can "piggy back" on the framework of anniversaries,
meetings, mass mailings, publications, audio-video productions, and interaction
with staff and
members.
Anniversaries. Associations have a large number of councils, committees,
and educational or social events that warrant an appropriate celebration.
Timothy L.
Ericson wrote in his article "Anniversaries: A Framework for Planning Public
Programs" that archivists need to anticipate, plan, and deliver the
appropriate information to make these events a reality.11 To effectively
anticipate, plan,
and participate in possible events the archivist must stay in touch with
the appropriate departments involved in the event. In an association, these
are
commonly the education, public relations, or programs and meeting services
departments.
Ericson's first law of outreach states: "Human beings are unable to resist
celebrating any anniversary divisible by twenty-five."12 I would be as bold to
suggest a corollary to Ericson's first law: people like to celebrate any
anniversary divisible by ten. Because anniversaries are high profile events,
planning should include a presentation by the appropriate association
leadership, and, even more importantly for your cause, by the archivist. The
archivist's involvement will demonstrate to the associationĀs membership
the value of archival records and provide the archives an identity within
the
institution. Within the last year the AANA has celebrated the twentieth
anniversary of the Council on Accreditation of Nurse Anesthesia Programs,
the twentieth year the AANA has held an independent Annual Meeting, and the
fiftieth
anniversary of the founding of the Assembly of School Faculty. The Archivist
was also involved in a plaque being placed at the University Hospitals of
Cleveland,
Lakeside to commemorate the founding of the Association in 1931. All of these
events were commemorated with the presentation of brochures and a ceremony
attended by AANA membership and leadership.
Since the events were high in profile, they were covered by the Association's
newsbulletin and, in some cases, the national wire services. By delivering
the
appropriate information and participating in the event, the archivist will
maintain a high profile and show to association membership and leadership
that
the archives is more than "dusty shelves."13
Meetings. Most associations hold a wide variety of meetings which allow members
to both network and participate in educational sessions. Besides providing a
good forum for a celebration or commemoration, the archivist can use this time
to provide a session to members on history topics pertinent to their tastes or
needs. Since 1994, the AANA Archivist has held history focus sessions at the
Annual Meeting. Although the history focus sessions do not merit any continuing
education credits, they have the best attendance of the possible focus sessions
offered to membership. Topics addressed cover practical, not theoretical,
applications of archives and history. Topics thus far discussed include:
historical research, creation of archives for state nurse anesthesia
associations, and oral history on the state level. The creation of state nurse
anesthesia association archives in California, Michigan, and New York have been
a direct result of member participation in the history focus sessions. By
offering focus sessions, members feel that they are part of an ongoing archives
program just as a volunteer may feel at a historical society. This again dispels
the public's preconceived notion that archives are for just collecting.
Meetings held by the association are the perfect place to use a portable
archives exhibit, since most members of an association do not visit its
headquarters. An exhibit would document the history of the association while
at the same informing the viewer the archives possesses a valuable and accessible
collection. As Mooney states, "Exhibitions offer extraordinary potential for
outreach in a society attuned to receiving messages is short visual bursts. Many
archivists do not fully exploit either the opportunities inherent in their
collections or the habits of television viewers."14 Companies that create
exhibits for conventions should be able to help an archivist with his or
her
needs. It is important that the exhibit fits in the standard size of most
convention exhibit space (10 ft. x 10 ft.). A 10-panel exhibit containing
text,
photographic prints, header, and a shipping case can cost anywhere from $4,000
to $12,000. Archivists with larger budgets might want to think about specialty
items such as literature pockets, and halogen lights. Since the exhibit is
portable, it can be loaned for other related associations meetings, such
as
state associations. It is important that the manufacturer makes the layout
of the exhibit basic since the archivist will not be the only one setting
up the
exhibit.
Mass Mailings. Associations have many mass mailings to membership to keep
them informed of upcoming events such as meetings or educational session.
This is a
perfect time to enclose any brochures or literature that you may have to
promote the archives. Outreach activities include "written reports, brochures, or
repository guides."15 Most importantly, "piggy backing" a mass mailing is
economical because your department is not paying for it. Mooney describes
archival brochures as "the most common publication form, and arguably the most
important, is the institutional brochure or flyer that every archivist should
produce and distribute both to its internal and external constituents. The
beauty of this form is that the brochure is a flexible and economical medium,
allowing the creator to employ varying design techniques to convey a sense of
the institution."16 If your brochure is letter size, well designed,
and captures the essence of your collections it should create a new clientele
that would have
never used your archives. It is important to enclose your brochures or flyers
with an appropriate mailing. For example, AANA mailing to events such as
the
Annual Meeting and educational sessions would better target potential archives
users than a lobbying meeting in Washington, DC since lobbying meetings
generally attract AANA leadership who do not use the collections for research.
Again, you must know your clientele to successfully market your product to
their
needs.
Publications. Associations provide informational and scholarly publications to
their members. The publications are in the form of news bulletins and journals
which provide archivists with an excellent avenue for publicizing their
collections. Start a column in your journal that solicits articles from members
on historical topics pertinent to their profession. Most editors of professional
journals are more than happy to accommodate your needs due to a shortage of
submitted articles. The archivist can use the column to promote the
association's collections by printing articles on individuals or topics
documented within the collection. Be sure to use photographs and graphics to
enhance the article to the reader; photographs say a thousand words. Readers
want articles, such as biographies, that are not too theoretical or technical.
News bulletins provide a forum for thanking members for donations and promoting
new accessions. This enlightens members to the fact that archives are not
stagnant and any historical records or mementos they possess are truly unique.
Archivists also should work with the news bulletin editor and the public
relations department for coverage of any ceremony and event in which the
archives has participated. This includes articles with the association's news
bulletins and the distribution of press releases. In September 1995, the
national wire services ran a story of the AANA Archives recognition of the
fiftieth anniversary celebration of nurse anesthetists participation in World
War II. This was only accomplished through the efforts of the archivist and the
public relations department. New bulletins also print annual reports which list
the accomplishments or activities of each department within the association. The
archivist should be included in this report citing projects finished, planned,
or in progress; collections donated; and number of reference requests handled
per year or month.
Audio-Video Productions. Oral history interviews have increasingly become
important primary research sources used by AANA membership. According to
Marion
E. Matters, "The oral history interview has developed as a distinct intellectual
form, sharing some characteristics of deliberately created works, such as
monographs, and some characteristics of unselfconscious accumulations, such as
archival records."17
AANA leadership is interested in high profile archival projects such as video
production of oral history interviews. The AANA's oral history experience
has
deferred from the trend started in the 1970s of interviewing individuals "from
the bottom up. "18 Leadership, such as past presidents and board members
would like to secure the legacy of their administrations. Therefore, they
maybe
willing to finance expensive projects such as video production or oral history
interviews. Interviews are best done at large association events, such as
the
annual meeting because most people attend the larger meetings and there usually
is a video production team at the site. This will keep costs down since the
archivist will not have to pay cost such as airfare, lodging, and the shipping
of equipment. Due to cost, the archivist needs to be careful who is targeted
for
interviews. At the AANA, past presidents from 1960 to 1989 have been interviewed
in three groups at the Association's Annual Meeting since 1994. Only the
outgoing presidents will be taped, once all of the past presidents have been
interviewed.
One individual who many have not been politically active in the AANA, but is
important to the profession's history, is picked by the Executive Director for
an interview at the Annual Meeting. Leadership is very enthusiastic to be
involved in this endeavor. Unexpected benefits from the project included future
accessions of past presidents records simply through their interaction with the
archivist.
Interaction with Staff and Members. Archival outreach can be a subtle as the
interaction with a fellow employee. Staff meetings can be an effective
educational tool for an archivist to promote the use and benefits of the
association's archives to department heads and support staff The archivist can
help both department heads and support staff with questions concerning the
association's records schedules and the archives policies and procedures. AANA
staff routinely is concerned with how quickly the archivist can access their
departments records or whether they should destroy or keep documents within
their area. Discussing the archives procedures and policies, such as a retention
schedule, face-to-face demonstrates the archives physical control of records in
its possession.
An archives committee, made up of members, or a liaison, selected by leadership,
can be a tool for the archivist to use in explaining the objectives of the
archives to membership. In the case of the AANA Archives, the archivist works
with a liaison who solicits possible volunteers, donations and articles from
members and participates in oral history programs. Some members feel more
comfortable being solicited by another member about donating a collection. More
importantly, since the liaison is a member, he or she is able to lobby AANA
leadership for support, usually financial, for special projects such as oral
history interviews or the purchase of collections. When a liaison solicits
leadership for funding they may be more inclined to fund the project since the
liaison is speaking for membership.
Conclusion
With the proliferation of organizational records and growth of specialty
professions, archives within associations and non-profit organizations are going
to become more common.19 In this highly competitive work environment, archivists
must be both innovative and aggressive when promoting their collections.
Archivists must know their clientele and match the archives services to their
needs. Techniques such as publications, and the use of the preexisting business
information distribution framework, an archivist will be able to get the
archives message to potential users while at the same time convincing their
employers that archives are vital to the mission of the association or company.
Anniversaries, meetings, mass mailings, publications, audio-video productions,
and interaction with staff and members are all efficient and cost-effective for
distributing information on the archives and its holdings. By applying the
proven techniques described in both archival outreach and business archives
literature, the association archivist can successfully give the archives a high
profile position within the organization that promotes use by a varied clientele
of members, leaders, and historical researchers.
About the author
Lee C. Fosburgh has been the archivist for the American Association of Nurse
Anesthetists since October 1994. He holds a MLIS/MA from the University of
Wisconsin-Milwaukee. He has previously held the position of project archivist at
the Chicago Historical Society.
AANA White Paper (Chicago: American Association of Nurse Anesthetists, 1994).
- For the history of nurse anesthesia and the AANA see: Marianne Bankert,
Watchful Care: A History of AmericaĀs Nurse Anesthetists (New York: Continuum,
1989); Lorraine M. Jordan, "Qualifications and Capabilities of the Certified
Registered Nurse Anesthetist," In Professional Aspects of Nurse Anesthesia
Practice, edited by Scot D. Foster and Lorraine M. Jordan (Philadelphia: F.A.
Davis, 1994), 3-10; Virginia S. Thatcher, History of Anesthesia with Emphasis
on the Nurse Specialist (')Philadelphia: JB Lippincott Company, 1953); John
Adriani,
"Four Decades of Association with the Pioneers of Anesthesiology," Anesth
Analg. 51(1972); 665-667; and Robert Stevens, In Sickness and in Wealth,
American
Hospitals in the Twentieth Century New York: Basic Books, 1989).
- AANA Membership
Survey, American Association of Nurse Anesthetists Archives, 1991.
- Thomas E. Keys, The History of Surgical Anesthesia (New York: Robert
E. Krieger Publishing Co., 1978).
- Evan Koch, "Richard von Foregger Worked
Closely with a Nurse Anesthetist,"
Anesthesiology 85 (1996); 219. In a letter to the editor, Evan Koch's writes
how a 1996 biography of anesthesia machine manufacture Richard von Foregger
failed
to mention his 20 year working relationship with nurse anesthetist Helen Lamb.
Koch used the AANA Archives collection of Lamb's correspondence with von
Foregger. Richard von Foregger himself failed to give Lamb her due, which she
stated was for "reasons that need no explanation."
- Lee C. Fosburgh
and Evan Koch, "AANA Archives: Documenting a Distinguished
Past," in Journal of the American Association of Nurse Anesthetists
63 (April 1995): 88-93.
- See Fosburgh, "AANA Archives: Documenting a Distinguished
Past," 1995.
- Elsie
Freeman, "Education Programs: Outreach as an Administrative Function," The
American Archivist 41 (April 1978): 147-153.
- Philip F. Mooney, "Modest
Proposals: Marketing Ideas for the Expansionist Archives," in Advocating
Archives: An Introduction to Public Relations for Archivists, edited by Elsie
Freeman Finch (Metuchen: NJ: Society of American
Archivists, 1994), 55.
- Thomas Wusted and William Nolte, Managing Archival and
Manuscript Repositories (Chicago: Society of American Archivists, 1991),
79.
- Timothy L.
Ericson, "Anniversaries: A Framework for Planning Public
Programs," in Advocating Archives: An Introduction to Public Relations
for Archivists, edited by Elsie Freeman Finch (Metuchen: NJ: Society of
American
Archivists, 1994), 65.
- See Ericson, "Anniversaries: A Framework for Planning
Public Programs," 66.
- See Ericson, 65.
- See Mooney, "Modest Proposals: Marketing Ideas for
the Expansionist Archives," 58-59.
- Elizabeth Yakel, Starting an Archives (Metuchen, NJ:
Society of American Archivists, 1994) 52.
- See Mooney, 56.
- Marion E. Matters, Oral History Cataloging Manual (Chicago:
Society of
American Archivists, 1995), 1.
- Donald A. Ritchie, Doing Oral History New York:
Twayne Publishers, 1995),
4-5.
- In January 1992, the Oncology Nursing Society hired a full-time Director
of the newly created Department of Archives and Records.
to top of 1998
PRESERVATION BY DESIGN: ARCHIVES AND RECORDS SERVICES AT HERMAN MILLER, INC.
Robert W. Viol, Corporate Archivist, Herman Miller, Inc.
Who is Herman Miller?
Herman Miller Inc. is a leading multinational manufacturer of furniture,
furniture systems and furniture management services. Headquartered in Zeeland,
Michigan, Herman Miller has been a source of major innovation in the residential
and office environments. The company emphasizes problem solving through design,
participate management, environmental responsibility and employee stock
ownership.
Herman Miller, Inc. began in 1905 as the Star Furniture Company, a manufacturer
of ornate reproductions of traditional-style home furniture. The companyĀs name
was changed to The Herman Miller Company in 1923 when D.J DePree and Herman
Miller (DePreeĀs father-in-law and respected local businessman) acquired
majority control.
Hard-pressed to stay in business during the Depression, D. J. DePree gambled on
contemporary furniture designed by Gilbert Rohde. The gamble paid off, and by
1945 the company phased out its traditional line to concentrate on "modern"
furniture.
The association with Rohde began Herman MillerĀs practice of working with the
worldĀs finest independent industrial designers that would ultimately include
George Nelson, Charles Eames, Isamu Noguchi, textilest Alexander Girard, and
inventor and researcher Robert Propst. TodayĀs innovative designs are created by
Bill Stumpf, Don Chadwick, Jack Kelley, Tom Newhouse, Geoff Hollington, Bruce
Burdick, Richard Holbrook, Jean Beirise and others.
Collections and Services
Herman MillerĀs corporate archival holdings have been described by researchers
as "awesome" - a testimonial to the corporate officers, who have generously
provided monetary and moral support, and to the dozens of men and women, who
have contributed their effort, time and talent. The archives, now located in one
of the companyĀs original buildings, documents the development of Herman Miller
product from its inception and creation to marketing and distribution.
Collections include publications, administrative records, photography, drawings
and blueprints, oral histories, audiovisuals, three dimensional artifacts,
fabric and textiles, and graphics.
To Protect, Serve and Defend
Currently the archives and record services comes under the administrative arm of
Herman MillerĀs corporate legal department - a good safe place to be. Marketing
and public relations may not always see the value in supporting and maintaining
archives, but the lawyers know we have what they need and -- we know where it
is. Given the litigious nature of our society, procedures have been established
with corporate legal and other departments to quickly and efficiently identify
key people in the company, who can supply records requested during the document
discovery process. A team, including members from both archives and records
services and corporate legal, and representatives from local law firms
contracted to represent our interests, has been created to respond to
court-ordered record requests and to coordinate documents received from other
departments. Space in the record center has been designed to store requested
documents and accommodate lawyers from both sides of the courtroom.
Get Rid of that Backlog! It Costs Us Money!
Litigation research has demonstrated the urgent need to eliminate the backlog of
uncataloged Herman Miller publications and non-Herman Miller materials
containing third party endorsements of our product. Every growing and viable
archives will have a backlog of the unprocessed, however, when records or
publications are requested as a result of a court order we have to make an
effort to locate those documents. The cost of paying a lawyer, or even a
paralegal, to search through 300 boxes is greater than the cost of hiring a crew
of processors and catalogers. Additional staff to process and catalog has been
acquired through re-deployment of existing record center staff and the hiring of
Herman Miller retirees, local high school and college students and temporary
employees.
Planning a Face Lift
Increases in staffing levels and the need for additional and smarter work spaces
in the archives and records center has provided the rationale for completion of
interior renovations including new office furniture. (You would think it would
be easy for the archives to obtain the latest in office furniture since Herman
Miller is the second largest office furniture producer in the country, however,
convincing the accountants that new office furniture in the archives provides
economic benefits for the company and our shareholders has been tricky.) We have
been asking for a Æface liftĀ for years but finally got their attention by
scheduling an open house in the archives for Herman MillerĀs retirees, including
past CEOs and the sons of the company founder. Two weeks later a team from
facilities provided a cost analysis for the project. The redo has been
tentatively approved and should be completed by spring. - just in time for the
June 1998 meeting of Herman MillerĀs retirees.
ItĀs Not Too Late!! Encapsulate
(and other preservation/conservation projects)
As a result of constant and continuous use of our oversize items including
drawings, posters, advertisements and other graphics by corporate legal, public
relations, design and development and several public exhibitions, an
encapsulation project is underway. Utilizing the services of a local consultant,
more than 800 items will be protected by the end of 1998.
The archives also maintains several thousand drawings of Herman Miller furniture
pieces designed by George Nelson & Associates dating from the 1950s and 1960s.
These drawings are scheduled to be sorted, arranged, labeled and microfilmed.
The drawings of Charles Eames and Gilbert Rohde have been filmed and are
available for research.
Herman Miller Meets Henry Ford
Throughout the years, the design community has acknowledged Herman MillerĀs
commitment to quality, innovation and fine design. Many of our designs are in
the permanent collections of major museums including New YorkĀs Museum of Modern
Art, the Whitney Museum and the Smithsonian Institution.
In 1989 Herman Miller donated its 770 piece collection of product lines and
furniture prototypes to the thirteen museums making up the Herman Miller Museum
Consortium. Skillfully managed by the Henry Ford Museum in Dearborn, Michigan,
the consortium continues to receive Herman Miller product, both past and
present. The Herman Miller archives coordinates these donations. Additionally,
we provide consortium members with supporting literature about our furniture,
our company and our designers.
Author! Author!
Residential and institutional furniture designed by Gilbert Rohde, George
Nelson, Charles Eames, Isamu Noguchi, and others continues to be hot commodities
among designers, design students, art curators and collectors. The archives
receives hundreds of requests from authors and publishers from around the world
for information and/or photography pertaining to both "classic" and current
designs.
To respond to the needs of serious researchers requiring use of Herman MillerĀs
archival material, we established the Herman Miller Author in Residence Program.
Office space and clerical support are provided in the archives for individuals
making extensive use of our collections. Our first "author in residence" Phyllis
Ross, will arrive in June. Ross, who worked for the Library of Congress on a
current Charles and Ray Eames Exhibition, will be using our Gilbert Rohde
collections.
The Only Thing We Can Promise You is Change
Like all corporations, Herman Miller, Inc. continues to experience dramatic
changes. Old facilities are renovated or sold, new facilities are acquired or
built; long-time employees retire; and new employees become part of the Herman
Miller community. All of these changes have had a dramatic, yet positive, impact
on the archives and record services department. Although the archives continues
to be viewed as an important corporate asset providing a competitive advantage,
we need to identify new ways to add value to the company and to become more
proactive and less reactive. Communication with the rest of the corporation must
be improved - perhaps through Intranet capabilities and online newsletters,
outreach programs to new employees, and contact through existing internal
publications.
For the archives, this is a time of great change but also great challenge. To
contribute and prosper, we must make the corporationĀs mission and objectives
our own - and demonstrate that our collections, can and do, support all aspects
of the business, from design and development, to marketing and sales.
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UNCOVERING THE PAST: RE-CREATING INTERNATIONAL PAPER COMPANYĀS "LOST" ARCHIVES
John C. Rumm, Senior Historian, The History Factory
It is paradoxical that the leading manufacturer of the paper products, which
historically have been used by most major companies to document their business
transactions and operations, until recently has done little to preserve its own
records. Yet such is the case with International Paper Company (IP), which is
observing its centennial in 1998. A unique project undertaken by IP over the
past year and a half, however, has made great strides in recovering its past.
IPĀs preparations for its anniversary began in 1995, when it retained The
History Factory (THF), a consulting firm specializing in heritage management
services for corporate clients, to develop its centennial programs. Among the
projects that THF proposed were a traveling exhibition and a book chronicling
IPĀs history. A major challenge existed, however, to the realization of these
projects: IP lacked a central archives or record management repository. In part
an outgrowth of the relocation of IPĀs headquarters several times since the
companyĀs founding, this situation also reflected IPĀs corporate structure.
Until the mid-1970s, the company was decentralized within two largely autonomous
divisions (Northern and Southern Kraft). But the most important factor was IPĀs
stringent record management policies, which required its corporate offices and
company facilities to purge documents and artifacts on a regular basis.
At the same time, however, reason existed for optimism. First, some IP
facilities had ignored the companyĀs record management policies and had
safeguarded historical materials. During 1996, THF visited selected IP
facilities in New York, Maine, Mississippi, Alabama, and Illinois to ascertain
the extent, content, and condition of such materials. These forays yielded some
significant discoveries, such as six linear feet of historical photographs and
employee newsletters at IPĀs Hudson River Mill in Corinth, New York. Second,
during their visits to IP facilities, THF learned that untold numbers of
potentially significant documents and artifacts either had been saved by current
employees and retirees, or had been acquired by local historical societies and
libraries.
To locate privately held historical materials, in the fall of 1996 IP and THF
launched a "Discovery Process." The company designated "Centennial Program
Champions" at each of its facilities, charging them with spreading the news
internally and externally about IPĀs forthcoming centennial and its interest in
obtaining historical materials to support the observance. To assist Champions,
THF prepared a manual, which included guidelines on the types of materials
sought, where they might be located, how they might be acquired through donation
or loan, and how they would be handled, along with informational posters,
employee information flyers, and loan/donation forms. Materials collected under
the Discovery Process were to be forwarded to THF for organization, temporary
archival storage and for use in developing centennial programs.
By any measure, the Discovery Process was an unqualified success. From November
1996 to July 1997, THF received submissions from more than 500 current and
former IP employees, from nearly every state and from as far away as Japan,
France and New Zealand. Oral history interviews, which THF conducted with some
200 IP employees and retirees during the summer and fall of 1997, also yielded
additional materials. Ranging in size from one page to several record center
cartons, the submissions totaled more than 200 linear feet. They included
correspondence; written reminiscences; financial statements and account books;
annual reports; employee newsletters and mill publications; advertisements,
scrapbooks and ephemera; maps and plats; photographs, slides, and negatives;
motion pictures, home movies and videotapes; and sound recordings. The Discovery
Process also yielded nearly one hundred artifacts that ranged from commemorative
mementos, to tools, implements and a collection of nineteenth-century patent
models for paper and paper-making equipment.
Though idiosyncratic and by no means a complete archives, the body of materials
assembled by the Discovery Process has proven invaluable to IP and THF. The
materials have been used to write and illustrate Generations of Pride: A
Centennial History of International Paper. The documents and artifacts have also
supported research on a range of company-generated historical inquiries, the
production of several videos, and the development of a traveling exhibition.
Most importantly, these materials will serve as the nucleus for what is hoped
will become an "IP Historical Archives," to be increased through targeted
collecting efforts. Together with a redirection of IPĀs records management
program, these steps should ensure the preservation of historically significant
materials for the future.
to top of 1998
FROM PRESERVATION TO PRESENTATION: SHARING TREASURES FROM THE JIM HENSON COMPANY
ARCHIVES
Karen Falk, Archivist, The Jim Henson Company
Upon joining The Jim Henson Company in 1992 as the first full-time archivist, my
priorities were clear. There was a small but fascinating collection that had
been gathered during the 1980s by one of Jim HensonĀs colleagues and then
augmented by the efforts of an enthusiastic Public Relations intern. These
materials needed organizing, cataloging and re-housing into archival materials.
While these items were important and historically valuable, much more was needed
to complete the historical documentation of the company. An aggressive search
for additional materials was in order and was begun immediately. I was also
eager to implement a computer database system to make the collections more
accessible. And, finally, I needed to press the administration for a reasonable
space to house the archives as they were, at that point, stored in four
different locations on two floors.
With the help of an assistant who was added to the department the following
year, I was able to accomplish many of my goals. The archives was up and
running, providing reference services to much of the company, particularly the
Public Relations department. We were well on our way to creating a historical
record of the work of Jim Henson and his creative team.
As I cataloged the existing materials and the newly found files, I was excited
by what I saw and read. The information was fascinating and little known by
Muppet fans, and the artwork was delightful. I became more and more interested
in finding a way to share these treasures with the rest of the company and the
public. In particular, I found a large group of Jim HensonĀs files from the
1960s concerning his little-known pre-Sesame Street projects. These files held a
wealth of information as well as wonderful character designs and commercial
storyboards. Some of this material was included in Christopher FinchĀs 1993
book, Jim Henson: The Works, but there was so much more to say and show. I had
always been interested in curating exhibits, but the company had a separate
exhibits department that, up until that time, did not generally collaborate with
the archives. The opportunity to begin presenting materials from our collections
came with the establishment of The Jim Henson Legacy.
The Jim Henson Legacy, a not-for-profit foundation dedicated to perpetuating and
celebrating the work of Jim Henson, was created by Jane Henson (JimĀs widow) in
response to the overwhelming interest from both the public and private sector to
acknowledge JimĀs work with awards and honors. The Legacy, whose board is made
up of JimĀs friends, colleagues and family members, has provided representation
and supporting materials for numerous awards ceremonies, and it has organized
and sponsored many film, video and slide presentations, as well as historical
exhibitions. Most of these events occur at museums, libraries and on college
campuses.
In late 1993, the Legacy board was approached by the Greenwich (CT) Public
Library about creating an exhibit for their gallery. The Henson family had lived
in Greenwich from 1964-1971, so it was decided that the exhibit would focus on
JimĀs work during that period. I was delighted ų those were exactly the years
covered by my newly discovered files. Working with Leslee Asch, director of the
companyĀs Exhibits department, we created a multimedia exhibit that combined
puppets, photography, historical documents, video and original art. Visitors
were able to see JimĀs original designs for Big Bird and Rowlf the Dog, read an
editing script from one of his experimental films, and view commercials for
LaChoy Chow Mein. It was the first time one of our exhibits addressed this area
of JimĀs work, and it was a great success. I was eager to find more
opportunities to display materials from the archives.
When the Legacy board expressed interest in doing something historical about Jim
during the 1994 International Festival of Puppet Theater (sponsored by The
Henson Foundation which supports puppetry companies), I suggested a display
concerning JimĀs involvement in puppetry organizations. Using photographs and
information gleaned from the archives, we were able to demonstrate JimĀs
commitment to and love of the field of puppetry. The display was complemented by
video screenings of Jim Henson Presents The World of Puppetry, a documentary
series he had produced celebrating six internationally acclaimed puppeteers.
After the festival, I continued my efforts to find ways to exhibit materials
from the archives.
Jim was a wonderful artist, and his drawings and designs are enchanting. Though
created to be transformed into three dimensions, his sketches easily stand on
their own as finished work. From the time I began working with his artwork, I
wanted to find a way to share it with the public. I often discussed this with
Jane Henson, and I expressed my desire to put together a simple show emphasizing
JimĀs artistic abilities with the pencil. In 1996, the Legacy agreed to sponsor
such a show. The company was very supportive, and they allowed me to devote
several months to the project. In April of that year, Jim Henson: Designs &
Doodles opened at the National Arts Club in New York. Including art ranging from
JimĀs high school days to about 1980, the exhibit received a positive response
from both the press and the public, and also from those who knew and worked with
Jim. I was gratified to hear from many of his close colleagues that JimĀs
sketches were a revelation to them, showing a side of the man that they had not
known.
With the success of Designs & Doodles, the archivesĀ contributing to the
Exhibits department corporate exhibits has become automatic, and we have had
more opportunities to do our own. A large part of Designs & Doodles was shown at
the University of Maryland (JimĀs alma mater) as part of a larger exhibit. At
the same time, we produced a small show on JimĀs involvement in the development
of Sesame Street with the National Public Broadcasting Archives (also at
Maryland and housing the Archives of ChildrenĀs Television Workshop). The Legacy
also has plans to tour Designs & Doodles.
But the best is yet to come. We are currently collaborating with the Exhibits
department and the curators of the National Museum of American History in
Washington on a Jim Henson/Muppet retrospective to open at the Smithsonian in
1999. Along with our continued work to preserve and document the work of Jim
Henson and his company, we now have the opportunity to present materials from
our archival collections to a national audience.
Coupled with the archivesĀ contributions to The Jim Henson CompanyĀs newly
launched website (www.henson.com),
these exhibits have proven to be successful venues for sharing Jim HensonĀs
creations. They also help The Jim Henson Legacy achieve its goals while
providing good exposure and public relations for the company. In the end, by
adding exhibits to the archivesĀ list of priorities, we have strengthened our
position, gaining recognition, support and respect from within and outside the
company.
For further information about The Jim Henson Company Archives, please contact us
at:
117 East 69th Street
New York, NY 10011
Phone: 212-794-2400
Fax: 212 -570-1147
Archives@henson.com
to top of 1998
NEWS FROM THE KELLOGG COMPANY ARCHIVES
Alinda Arnett, Archivist, The Kellogg Company
Like many archives managers, a color scanner, digital camera, and OCR
text-retrieval system were pieces of equipment that our archives and records
management staff only dreamed of using to manage our collections. Here at The
Kellogg Company Archives we are finally living our dream. Let me take you back a
few short years ago
The Kellogg Archives was in a static state. The staff included two full-time
employees and one part-time person. In addition to the archives, the staff had
to manage the inactive records centers and maintain retention schedules. Our
in-house database had been changed and updated by many fly-though-the-night
people. It was very cumbersome to conduct data entry with numerous different
screens to go through, and catalogers had to know abbreviations due to limited
lengths of fields. In addition, any new material for the archives was boxed and
left out of sight and maybe out of mind. Incoming requests continued to be
received on a regular basis and were completed based upon their priority.
Then came the turning point the Information Services (I/S) department
instructed us to find a program to replace the archival database. The archives
staff found a system, but to no oneĀs surprise, the program was not
satisfactory. The Kellogg Company was changing to the Windows environment, and
our selection was not compatible with Windows programming. We requested the I/S
departmentĀs assistance to find new software. I/S recommended a new company and
included us in with their appropriation. What an opportunity!
We recognize the differences between companies, and now understand how true this
is with equipment as well. The archives and records management staffĀs goal
wanted to provide our internal clients with access to a digital archives ų we
needed a color scanner. The I/S department attended a vendor show and found only
one scanner to choose from at that time. We purchased the equipment, but
returned the scanner after eight months of trying to produce color images.
Starting over, we found there were more scanners to choose from. We compared
four different scanners and purchased the cheapest one. How often does that
happen?
The scanner accommodated flat objects smaller than 12" x 17", but the staff
needed equipment to handle larger documents and three-dimensional items.
Initially, we thought a program and camcorder, which could take a snapshot of
the items, would be acceptable, however, we were not happy with the quality of
the images and began another selection process. Again, we tested four different
products and chose a mid-priced digital camera.
With the exception of a few minor glitches, the color scanner has been working
very well for the last two years, and we have been using the digital camera for
approximately nine months. OCR technology is being tested for implementation
during the first quarter of 1998. In addition, we are scheduled to introduce our
application to our Battle Creek campus during the first quarter.
Images are scanned at a reduced resolution to decrease the necessary storage
space of color images. Currently, images are scanned for research purposes only
and not for reproduction. If reproduction is necessary, negatives or slides are
made available after requests are approved by the Legal department.
During 1998, a staff of eleven is conducting data entry, scanning images and
using digital camera technology to capture and preserve images. We are proud to
report that our back- file conversion is scheduled to be completed by December
1999.
to top of 1998
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