Archiving

Lacy reflects on the rewarding aspects of her fellowship and her deepened appreciation for Cashion, dance, digital archiving, and cultural heritage.

In her third post, Amy addresses her work planning and conducting oral histories and posits a position for the NIF archive as an “archivo de uso” which is rooted in community.

In her third post, Lacy addresses the symbolic dance between archival “best practices” and the “good practices” that are appropriate for Cashion’s materials and organization.

Amy’s second blog explores the issues with the archival system she inherited, her process of organizing and categorizing NIF’s new inventory, and the magic of looking at archives with their creators.

In her second blog post, Isabel reflects on how the importance of legacy and lineage informed the way she approached inventorying Dianne Walker’s archives of the tap community.

Benja’s second blog illuminates how a unique, robust naming and metadata system can allow the LEIMAY archive to represent their multiplicity and flexibility.

In her second blog post, Lacy shares how she contented with being an information professional without a dance background, and the methods she used to learn about dance while implementing archival processes.

In the first of their blogs, Benja considers the particular needs, challenges, and gifts of an archive of multimedia, community-based, personal and artistic materials.

Isabel’s first blog post discusses how the Dianne Walker collection can reflect her career, honor the legacy of her mentors, and educate future generations about tap history.

Amy’s first blog post explores NIF’s history, deep familial and community connections, and her own relationship to flamenco and this unique archive.