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Omissions of ethnic and racial identities in finding aids created

Records, press accounts, and secondary sources and contextual information in theĬollection materials. Other information supplied to repository by collection creators or sources public To determine identity, we rely on self-identification Since 2017, we have added ethnic and racial identities for individuals and families Processed by: Elizabeth Matson, May 2003 Amanda Loeb, May 2014 Anne Wells, May 2017 Person) for which the University of North Carolina at Chapel Hill assumes no Private life are published that would be deemed highly offensive to a reasonable Of those individuals may have legal ramifications (e.g., a cause of action underĬommon law for invasion of privacy may arise if facts concerning an individual's Identifiable living individuals represented in this collection without the consent Researchers are advised that the disclosure of certain information pertaining to State Employee Personnel Records, N.C.G.S. §ġ32 1 et seq.), and Article 7 of the North Carolina State Personnel Act (Privacy of Laws and regulations, the North Carolina Public Records Act (N.C.G.S. Sensitive Materials Statement Manuscript collections and archival records may contain materials with sensitive orĬonfidential information that is protected under federal or state right to privacy Provenance Received from Georgia Wier, 21 June 1995 (Acc. Southern Folklife Collection, Wilson Library, University of North Carolina at Chapel Preferred Citation, in the Southern Highland Handicraft Guild Collection #20372, Restrictions to Access Use of audio or moving image materials may require production of listening or viewingĬopyright Notice Copyright is retained by the authors of items in these papers, or their descendants,Īs stipulated by United States copyright law. Work, pottery, Hmong needlework, and dried flower arrangement. Also included are colonial knotting, pewter

Handicrafts of woodworking and weaving are particularly well represented, with a number With the Guild and other folk art schools, organizations, or family businesses. Of interviews with individual artists focusing on their craft and their association Patience Bingham, and Betsy Baker, documented the handicraft work of individual, educational,Īnd organizational members of the Guild in North Carolina. From 1993 to 1995, Georgia Wier, a whiteįolklorist for the Southern Highland Handicraft Guild, with assistance from Ron Ruehl, In 293 counties of nine southeastern states. The Guild represents over 700 craftspeople The Southern Highland Handicraft Guild is a non-profit educational organization withĪ focus on teaching people in the southern Appalachian mountains traditional handicraftsĪnd providing market outlets for them.