What is a Charrette?

A charrette is a focus group that brings together a wide variety of stakeholders in order to map solutions. Originally used in the Public Health field, our CDA Team and others have borrowed the term for community and cultural heritage work. Our charrettes bring individuals together to collaborate and workshop ideas for a common community vision. We focus on topics such as promoting and protecting cultural heritage, telling underrepresented histories, and discovering archival assets in communities. For our CDA team, we collaborate with a diverse group of stakeholders and individuals such as funders, librarians, community members, professors and academics, town officials, activists, artists, and archivists. These diverse participants ensure that the charrette isn’t an echo-chamber. Rather, members share a desire to invest in and protect a community but from different angles and perspectives.

A good charrette invites community expertise and specific knowledge of the historical and cultural dynamic; members within the community know the needs far better than we ever could. A common and often deadly shortcoming of any institutional project is to assume the institution knows what’s best for the community. Equally devastating is when an institution has a real desire to participate but struggles to have meaningful, sustained engagement. Both examples lead to institutions flailing in a sea of uncertainty and ineffectiveness. Charrettes are one way to counter these outcomes. It can be eye opening and humbling to have community members speak to historic problems and instances of broken trust face to face. For the charrette hosted by CDA in April at Black Communities: A Conference for Collaboration we asked individuals to share their knowledge of an African American community, its needs, and some hidden history highlights.

Our charrette was an informal lunchtime meeting. We provided a worksheet (with consent form to use the data collected included!) with a few questions, each probing a little more deeply into the needs and histories of communities. These questions asked participants to identify a place and describe how history is either being preserved or ignored. Our focus was (and remains) geared towards archival and cultural heritage so our questions related to storytelling and preservation of histories and materials. Our first question asked participants to identify a place and a little-known history from that area. Some of the towns and communities identified were Starkville, MS, Riceville, TX, Shreveport, LA, Halifax County, NC, Chicago, IL, and Winston-Salem, NC. Some participants told their family’s history while others focused on broader groups such as the Indigenous peoples and industries.

The second question was “What does this community need to better tell its story?” One participant from Halifax County, NC wrote: “support with National Park Service applications, (land owner contacts and research) oral history interview compilation and other related supports.” Another participant interested in Riceville, TX noted that their community need “oral history work” and a project to address that was underway.

The third question asked specifically “How is African American history preserved and shared in this community?” A participant from Shreveport, LA wrote “Southern U archives, (opening soon) North Louisiana Civil Rights Museum and NORLA Preservation Project (restoring shotgun houses).” Another participant from Chicago IL stated “History is preserved through oral conversations, research and personal narratives. We celebrate the lives of our ancestors through continual community building and grass roots organizing.” The emphasis on in-person communication is something that a charrette works hard to emulate and build upon.

Our final question asked to identify next steps. Preservation is important, but it must lead to something. We wanted to know how the ideas from this charrette could inform not only our work but work within the community. Charrettes can be all day affairs or an hour, like ours at Black Communities. Charrettes are connective, collaborative, exploratory and possibly explosive. All these attributes indicate that these types of in-person focus groups are necessary to identify need and ultimately movement.  As one participant perfectly summed up, “information has to drive advocacy.”   

 We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu. 

Follow us on Twitter    #AiaB #yourstory #ourhistory #communityarchives #EKAAMP #HBTSA #SHC #SAAACAM #memory #community #CDAT #Charrette #activism

What is a Community?

Here at CDA, our team speaks about communities a lot, working to imagine and redefine what that word implies. But what exactly do we mean when we say a Community? That question seems straightforward but there is a great deal of ambiguity in this term. When we at CDA talk about communities, we aren’t just talking about towns that exist right here, right now with a neatly registered zip code. Communities can be towns, cities, parishes, neighborhoods or enclaves, rural and urban, but they can also be identities, small groups, diasporas, and informally established. Some are “post-place” but still united by a common identity. In other words, there was a historic place, but now it’s a group of dispersed people.

This complex relationship between physical space and abstract meaning produces important discussions about identity, motivating community partners and community champions to combat what scholars like Michelle Caswell have called “symbolic annihilation.”[1] Communities that had been historically, and continually, marginalized, erased, and ignored are finding ways to increase their visibility through community-archival and cultural heritage work. This increased visibility showcases the three parts of what Caswell et al calls “representational belonging.” These three parts, we were here, I am here, we belong here, affirms the importance of a community’s existence.[2] Gaps in the narrative of underrepresented communities affect histories and have consequences for contemporary identities. By refocusing the narrative, communities control their own modes of representation as opposed to tokenism by traditional power structures.

Here are a few examples of why representational belonging is so important.  Shankleville is an un-incorporated community in Newton County, Texas. This was a “freedom colony” founded by Jim and Winnie Shankle in the postbellum period. What does it mean for the contemporary community that lives in and studies Shankleville that there are so many gaps in the narrative about the lives of Jim and Winnie? Another community example is found in Portland, Oregon. One community member talked about the invisibility of the Black community there, especially when paired with notions of gentrification and infrastructure expansions, like a light-rail that displaced large swaths of the African American community. Local organizations, like the Vanport Mosaic, use art and other media to amplify forgotten histories, but what do the historic erasure practices mean for those living in the Pacific Northwest? A final example is the Eastern Kentucky African American Migration Project which examines the now diasporic community previously located in Lynch, KY. As jobs in the coal mining industry dried up in the mid-20th century, families relocated physically, but they remain deeply connected to Harlan County and each other. What does it mean for miners, children and grandchildren of miners to be so far apart across the country, but to return yearly for reunions? All these communities are striving for representational belonging, internal and external confirmation that their stories matter.

This is one of our grant project data visualization maps, showing the locations of just some historic black towns and communities. There are plenty of places and communities that remain hidden and part of our work is to present as full and as rich a representation as we can based on the materials presented by communities.

We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu. 

Follow us on Twitter    #AiaB #yourstory #ourhistory #communityarchives #EKAAMP #HBTSA #SHC #SAAACAM #memory #community #CDAT @vanportmosaic @shankleville

[1] Michelle Caswell, Alda Allina Migoni, Noah Ceraci, and Marika Cifor, “‘To Be Able to Imagine Otherwise’: community archives and the importance of representation,” Archives and Records, 38., no. 1, (2017), 5-26.

[2] Caswell, et., al.

PROJECT SPOTLIGHT: PRINCEVILLE

On September 21st a group of CDA team members and students from the Public History graduate program led by Dr. Charles Johnson at North Carolina Central University drove to Princeville NC to conduct oral histories. We partnered with lifelong citizens, town officials, and longtime residents of the Princeville community to collect stories and workshop the oral history backpacks. This collaboration between the CDA, NCCU, and Dr. Glenda Knight, our contact in Princeville and mayor pro tem, came about from a charrette, a type of focus group, held in Durham over the summer. Dr. Glenda Knight helped organize the event and found space for us in the temporary Princeville town hall, located in nearby Tarboro. Though it was spared the brunt of Hurricane Florence, Princeville is still recovering from Hurricane Matthew 2016 and Hurricane Floyd from 1999, hence our Tarboro location.

Princeville is the oldest African American incorporated town and is one of our grant partners from the Historic Black Towns and Settlements Alliance (HBTSA). Princeville was founded by a group of formerly enslaved people and incorporated in 1885. Originally called Freedom Hill the name was changed to reflect the work of Turner Prince within the town. Princeville remains a predominantly African American town, containing significant historical narratives. However, like many other African American towns, it suffers from racial, economic, and governmental prejudice and neglect.

Adreonna Simmons, a student interviewer, reflects on her conversations with Dr. Porter a lifelong resident.

During our time in Princeville, I had the pleasure of interviewing a woman who had been a lifelong resident of the town. She shared stories about growing up in a close-knit community and how it shaped her into the woman she is today. She reminisced on her time in college and proudly told why she returned to her hometown when most college graduates would have moved on to bigger cities. Despite these pleasantries, it was how Hurricane Floyd and Hurricane Matthew impacted her and the community of Princeville that stuck out to me. Dr. Porter’s home was destroyed twice due to these hurricanes and Princeville’s proneness to flooding. At our roundtable discussion about the project, with tears in her eyes, she explained how having to build from the ground up once only to be in the same situation 15 years later was difficult and enough to make anyone lose hope. Some of the residents interviewed hoped that their stories would serve as a narrative for Princeville and the devastation that they have been dealing with for decades due to a lacking dam and drainage system would be addressed by the State legislature. These oral histories show the side of history that is often forgotten and gives voices to those that for too long have been silenced.

Interviewees were honest about the struggles in Princeville. But equally evident is the pride and love community members have for their town.  For Dr. Porter,

“Princeville has a lot of hidden things. And I guess one other thing. I often tell my husband, because he wasn’t born and raised here in Princeville and so he’s not too excited at going back after being flooded two times. But I tell him that’s because you weren’t born and raised here. It makes a lot of difference to me.  When you’re born and raised in a place it makes a lot of difference. To me it makes the whole world of a difference.”

Our work in Princeville was part oral history collection and part training. We left three backpacks in Princeville for the community to use and we will return in a few months to gather the histories saved on recorders. Those recordings will be sent to the town and eventually there will be a plan about what to do with the new and growing collection. We discussed having a history harvest and look forward to getting community feedback and returning to Princeville.

Here is just one clip of the many poignant moments from our time at Princeville. Dr. Porter discusses the importance of documents for safeguarding memories and the devastating grief that follows when you lose everything.

We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu. 

Follow us on Twitter    #AiaB #yourstory #ourhistory #communityarchives #EKAAMP #HBTSA #SHC #SAAACAM #memory #Princeville #CDAT #oralhistory

PROJECT SPOTLIGHT: EKAAMP

Bernetiae Reed, CDAT Project Documentarian and Oral Historian, reflects on her participation in the Eastern Kentucky Social Club (EKSC) Reunion and exhibit by Dr. Karida Brown of EKAAMP in St. Louis, Missouri.

Time was a blur as I traveled to St. Louis and back! Plans had been made. I would be taking selected archival items from the Eastern Kentucky African American Migration Project (EKAAMP) deposit collections on a road trip! I ask you, how best to see and experience America? How best to envision a different time? Nothing like it! So, off I went . . . I will spare you the intricacies of my journey, but highly recommend travelling behind trucks at night to safeguard against hitting a deer!

My goals on this journey, as Project Documentarian and Oral Historian for the Community-Driven Archives grant at the SHC, were to record events and assist with the installation of the exhibit. Two related events were taking place stemming from African American mining communities in Eastern Kentucky. The 49th Annual Eastern Kentucky Social Club gathering and the release/book signing for Dr. Karida Brown’s book, Gone Home: Race and Roots through Appalachia which included the launch of a travelling exhibit.

Figure 1: (l-r) Dr. Karida Brown, Hilton Hotel Staff, Richard Brown holding posters (Karida’s father) and Dwayne Baskin pulling program items from hotel storage

As soon as we settled into the downtown St. Louis hotel, Friday (August 31st), morning and into the Saturday afternoon, we were fanatically installing the exhibit. Tracy Murrell, an Atlanta-based artist and curator, was shepherding her vision of this exhibit to life. Tracy had been hired by Karida for the project. Use of wonderful shear wall hangings printed with photographic images transported us to the coal mining town of Lynch, Kentucky. Additionally, a throw-back-in-time couch took you to a typical home from the era.

Figure 2: Tracy Murrell and others work to install the exhibit

Many moments stand out for me. Karida opening the doors to the exhibit, Jacqueline Ratchford reacting to seeing her prom dress on display, Derek Akal talking about his current plans to become a miner, people interacting with artifacts in the collection, and so much more. People reminisced, touched, told stories, laughed, cried, and so much more . . . this was their family and a part of them! Needless to say, I videotaped only a small portion of everything that was happening. From hotel lobby . . . to each event venue . . . to brief walks in downtown St. Louis . . . to church service in the hotel . . . time flew by! Karida beamed as she signed her book. Everywhere people were greeting and hugging old friends. And a beautiful welling of emotions came in watching the young praise dancers who performed during the church service. I was captivated by their pantomime . . . brought to laughter and tears. And had a special sense of wonder for the youngest mime, not understanding how one so young could draw on life’s joys and pains so well. Finally, satisfied that the power to be moved again by this performance and the journey to St. Louis was possible with what had been recorded.

Figure 3: A high school letterman’s sweater and a pink prom dress from the EKAAMP archive set in front of images from Lynch Kentucky.

We included a clip of the praise dancers so you too could experience a piece of performance!

We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu. 

Follow us on Twitter    #AiaB #yourstory #ourhistory #communityarchives #EKAAMP #HBTSA #SHC #SAAACAM #memory #StLouis #CDAT #EKSC #GoneHome

What is a Community Archive?

Community archives and other community-centric history, heritage, and memory projects work to empower communities to tell, protect, and share their history on their terms. In 2017, the Southern Historical Collection at the Wilson Special Collections Library of the University Libraries was generously funded by the Andrew W. Mellon Foundation for a grant to “form meaningful, mutually supportive partnerships that provide communities with the tools and resources to safeguard and represent their own histories.”  We argue that “Community archive models and community-driven archival practice address the ‘symbolic annihilation’[to quote Michelle Caswell] of historically marginalized groups in the historical record, and aim to create sustainable and accessible memory projects that address these archival absences.”[1]

So what does it mean? A whole host of complex, complicated moving parts that if done right could transform the historical record! And it wouldn’t just be the grant funded community driven archives team (CDAT) doing it, but rather a true collaboration between the CDAT and communities to keep communities in control of their narratives.

Communities can preserve their history in a myriad of ways. They can keep records in  brick and mortar buildings like the Mayme A. Clayton Library and Museum, or they can curate a digital archive like the South Asian American Digital Archive.[2]  Communal heritage or memory can be expressed through historic markers or murals, like the Portland Street Art Alliance’s “Keep on the Sunnyside Mural Project”[3] and through guided walking tours, such as those created by the Marian Cheek Jackson Center.[4] History and heritage can even be expressed through parades, commemorations, and community celebrations. In her article, “The records of memory, the archives of identity: Celebrations, texts and archival sensibilities” Jeannette A. Bastian notes,

the relationships between collective memory, records, community and identity as expressed through a particular celebration—a carnival— [is] located within the paradigm of a cultural archive. That paradigm theorizes that if an annual celebration can be considered as a longitudinal and complex cultural community expression, then it also can be seen dynamically as a living archive where the many events within the celebration constitute the numerous records comprising this expression.[5]

Community archival work can also be done in public libraries like the Queens Memory Project or with the support of universities like the SHC’s Community-Driven Archives project. We call our work community driven archiving because we take cues from community members on the best ways to support their memory work, we would not trample the long standing tradition of community owned and operated archives by co-opting their name.

We understand that working with communities to create archival, historical and heritage-based projects means grappling with complex issues of identity, ownership, and legacies of marginalization.  Community history has always been present; the community archives movement didn’t suddenly discover these histories.[6] We have a lot more to share about our perspective and experiences with community driven archival work, including its benefits and challenges for a large organization with a complex history like the University Libraries. With this post we are signaling that boosting community voices in all their intersectional, diverse, complicated and creative outputs is a top priority in the Southern Historical Collection these days.

This is a model we created to help us visualize the relationship between traditional archival users and community-history creators. By changing the emphasis on who is being considered essential to the archives story, you can completely change the priorities.

We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu. 

Follow us on Twitter    #AiaB #yourstory #ourhistory #communityarchives #EKAAMP #HBTSA #SHC #SAAACAM #memory

[1] “About: Community-Driven Archives Overview,” https://library.unc.edu/wilson/shc/community-driven-archives/about/

[2] South Asian American Digital Archive, “SAADA”, https://www.saada.org/

[3] Portland Street Art Alliance, “Keep on the Sunnyside Mural Project”, http://www.pdxstreetart.org/articles-all/sunnyside-mural-project

[4] Marian Cheeks Jackson Center “Soundwalk of Northside,” https://jacksoncenter.info/northside-stories/soundwalk-of-northside/

[5] Jeannette A. Bastian, “The records of memory, the archives of identity: Celebrations, texts and archival sensibilities,” Archival Science, (2012), 122.

[6] Yusef Omowale, “We Already Here,” Medium: Sustainable Future, September 3, 2018, https://medium.com/community-archives/we-already-are-52438b863e31.

Community-Driven Archives

Hello and welcome to the Community-Driven Archive blog located on the Southern Historical Collection’s Southern Sources! The Southern Historical Collection is part of the Wilson Special Collections Library of the University Libraries, University of North Carolina at Chapel Hill. On this blog, we, the Community-Driven Archives Team or CDAT for short, will talk about the work you see (like the “AiaB” Archivist in a Backpack) and some behind the scenes activities, such as discussions about funding, obstacles we’ve faced, the little victories, and aspects of community archives that don’t make it into the brochures. We hope that you find our posts engaging and thought-provoking, and this blog is for anyone and everyone. From archival and institutional practitioners to community members and everyone in between you are welcome here!

Community archives are complex and there are a lot of ways to talk about the different types of community history and memory practices. One common analogy is that of a garden. In a recent Letonica article, Director of the Southern Historical Collection Bryan Giemza notes,  

[there are] those who see the archive as analogous to a garden. Properly tended, it keeps growing, and the measure of its good is both in its sustainability and the measure of nourishment it provides. If food sustains the ability of a community to reinvent itself, which is necessary to the advancement of any civilization, an archive contains the cultural resources that provide the creative sustenance for the process.

Gardens offer a more accessible image of information and community materials; they are an epicenter of collaborative activity. Community champions break the ground and help prepare the foundation. Donors provide the seeds, while volunteers till the soil, water, and feed the new growth. Visitors, outsides and locals, consume the produce and have the seeds of inspiration planted in their own minds. The community can be nourished by the visibly of their work, and the tangible outcome it provides, be that an exhibit, a website, a history harvest, or series of oral history interviews. Community archives can be kept small and within the bounds of the planter or they can climb over the garden walls and expand outside anyone’s previous notions. These types of community archive-gardens are unique to each community and we at CDAT are excited to share our experiences and hear about the work of others! 

We post every week on different topics but if there is something you’d like to see, let us know either in the comments or email Claire our Community Outreach Coordinator: clairela@live.unc.edu. 

Follow us on Twitter    #AiaB #yourstory #ourhistory #communityarchives #EKAAMP #HBTSA #SHC #SAAACAM #gardenarchives

EKAAMP Garden

This image is from one of our pilot projects, the Eastern Kentucky African American Migration Project, or EKAAMP. Gardens feature heavily in our jargon and our work as you can see!

Partnering with The San Antonio African American Community Archives and Museum (SAAACAM)

The San Antonio African American Community Archives and Museum (SAAACAM) is in the process of developing a vibrant and much-needed community memory 501(c)(3) devoted to African American history, culture, and experience in San Antonio. They say it best in their Mission Statement:

“The SAAACAM mission is to collect, maintain, disseminate and interpret a digital database of authentic community based African American history; encourage and promote interdisciplinary education of shared history at all levels; practice stewardship of the broadest range of resources; and produce creative and innovative programs to heighten public awareness and self esteem.”

SAAACAM volunteer and Dr. Karida Brown during an oral history training.

Just a month into our jobs in late 2017, the Southern Historical Collection’s Oral Historian and Documentarian Bernetiae Reed and I were on our way to San Antonio, along with our colleague and Mellon Community Liaison Dr. Karida Brown, to visit with SAAACAM.

So what is Chapel Hill doing in San Antonio? The SHC’s role at SAAACAM is to share and develop resources and tools that help SAAACAM succeed in its goal of becoming a self-sustaining, self-directed, empowered archive and museum. We want to share what we know and cheerlead as SAAACAM finds a path that makes sense for its own community. We do this through training and discussion modules, consultation and research assistance, a small technology budget that aims to get projects familiar with oral history and preservation work, and backup repository support when deemed useful by SAAACAM.

Continue reading “Partnering with The San Antonio African American Community Archives and Museum (SAAACAM)”

So What’s a CDAT Anyway? Meet the Community-Driven Archives Team at the Southern Historical Collection

What are community-driven archives all about?

In October 2017, the Southern Historical Collection celebrated the complete staffing of our “Building A Model For All Users: Transforming Archive Collections Through Community-Driven Archives” Andrew W. Mellon Foundation grant team. In recent months, we have launched the initial steps of supporting community-driven archives initiatives and programs through our Community-Driven Archives Team (CDAT).  There are many models for community-driven archives; the upshot of ours is that we want to form meaningful, mutually supportive partnerships to build and preserve community archival collections. We provide communities with the tools and resources to safeguard and represent their own histories. And we want you to be able to CDAT, too!

This community-based approach extends to how we do our work as a team – working together proactively to tease out tricky issues and create accessible and approachable documentation. Our method for creating and publishing content such as presentations, handouts, media, peer-reviewed publications, social media content, and yes, even this blog, is all about collaborative peer-editing.

Our grant prioritizes collaboration, and owes much to the research of Michelle Caswell, Bergis Jules, and many others who have theorized and brought to life the idea of inclusive, representative, empowered archival practice. Community archives models and community-driven archival practice address the “symbolic annihilation” of historically marginalized groups in the historical record, and aim to create sustainable and accessible memory projects that address these archival absences.

Continue reading “So What’s a CDAT Anyway? Meet the Community-Driven Archives Team at the Southern Historical Collection”

Announcing the launch of the Student Health Coalition project website

A pioneering online archive about student activism in the 1960s and 70s goes public on Thursday, March 31, 2016.  The website (studenthealthcoalition.web.unc.edu) is the digital home for video clips, historic photos, and personal profiles from former activists in the rural south with a focus on health care.

The archive is the outcome of a partnership between the Southern Historical Collection at the University of North Carolina at Chapel Hill and the Student Health Coalition.

The Southern Historical Collection encourages the study and appreciation of the history and culture of the American South by collecting, preserving and promoting the use of unique documentary materials of enduring historical value. The Collection does this to enable users to derive meanings from the southern past and to support the University’s mission of teaching, research and service.

The Student Health Coalition was a student-run organization based primarily at Vanderbilt University and eventually at other colleges around the south.  They were active over several decades beginning in the late 1960s.  Student activists and rural community leaders worked together on issues related to health care and empowerment.

The new website unveiled on March 31 is a unique community-driven archive of historical documents and other treasures.  Its goal is to encourage the study of the Coalition’s public health and community organizing work throughout the Appalachian region. The online archive is by design interactive, dynamic, and open to the public.

05613_0007_429
Circa summer 1971: Student Health Coalition participants gather in front of the Vanderbilt University Medical Center. Photograph from the Richard Davidson Photographic Collection, Southern Historical Collection, UNC Chapel Hill.

Discoveries and advantages have already begun to surface even as the site was in development.  The Southern Historical Collection has uncovered little-used archives in their collection whose relevance has been magnified by the interactive site. Links to other archival resources throughout the region, including Vanderbilt University Medical Center, are beginning to shed new light on old stories about health care issues in the rural south.

According to Biff Hollingsworth, Collecting and Outreach Archivist at UNC, “Scholars are often drawn to a project or area of research because of the depth of resources available to them. So sometimes marketing those opportunities is tantamount to developing them further.”

North Carolina’s organic farming celebrity Bill Dow was a co-founder of the Student Health Coalition and a graduate of Vanderbilt University School of Medicine.  His newly-published memoirs, What I Stand On, received acclaim around North Carolina. The memoirs contain stories from the Coalition days as well as from Bill’s farming innovations.

Just after Bill Dow died in 2012, his family made arrangements for his collection of historical documents about farming to be left in a conventional archive at UNC. When archivists learned about Dow’s early work in health care, they engaged with a reunion of the Coalition to explore this new model for interactive, community-driven archive building. Beginning March 31, the public is invited to explore and engage.

If you were part of the Student Health Coalition or would like to learn more about this project, please contact Biff Hollingsworth at the Southern Historical Collection, by phone at 919-962-3353 or by email at biff@unc.edu.

Student Health Coalition website: http://studenthealthcoalition.web.unc.edu

Celebrating Bill Dow: Readings from “What I Stand On”

Last year, the Southern Historical Collection was pleased to make two collections available to the public, the William W. Dow Papers and the Richard Davidson Photographs of the Appalachian Student Health Coalition and the Mountain People’s Health Council. Both collections relate to the community of Vanderbilt alumni from the Appalachian Student Health Coalition, which began in 1969 to provide health fairs to rural communities without health care in Appalachia.

In addition to h9780997043402is work as a doctor, William (Bill) Dow became the first organic farmer in North Carolina and the founder of the Carrboro Farmer’s Market (among many other accomplishments).

Before his death in 2012, Dr. Dow recorded his thoughts on sustainable farming with the hope that it could be compiled into a book. His friend, Fred Broadwell, and his partner, Daryl Walker, completed this project resulting the book titled: What I Stand On: Practical Advice and Cantankerous Musings from a Pioneering Organic FarmerIt is now available for order at your local independent bookseller.

Though much of the book contains Dr. Dow’s pioneering farming philosophies, small mentions of the Student Health Coalition are peppered throughout.

Broadwell and Walker will be doing readings from the book at local bookstores during the next few months. If your interested in a pioneering farmer’s wisdom and philosophy, or perhaps enjoy homegrown food, please join them at:

  • McIntyres Books in Pittsboro on Feb 27, 2016  at 2:oopm.
  • Flyleaf Books in Chapel Hill on Feb 29, 2016 at 7:00pm .
  • Flyleaf Books in Chapel Hill on March 8, 2016 at 7:00pm. With an appearance by
    Isaiah Allen, the chef of The Eddy in Saxapahaw and owner of Rocky Run Farm, who wrote the book’s introduction.
  • Regulator Bookshop in Durham on March 10, 2016 at 7:00pm.