The John S. and Drucie R. Chase Building Archive

BY JEREMY THOMPSON

The Black Diaspora Archive (BDA) at The University of Texas at Austin documents the Black experience in the Americas and the Caribbean through the voices and stories of those who have championed the Black spaces that we use and benefit from today. Diaspora is defined as the “dispersion of any people from their original homeland,” and often when evoked with the Black experience in America, means the historical movement and displacement of Africans from their native homeland.

For the Black community in Austin, diaspora is a much more recent and closer-to-home event as its established Black communities are under threat of disappearing. Through the use of oral histories, the John S. and Drucie R. Chase Building Archive tells the story of the herding of the Black community into East Austin, the Black establishments and schools that grew during this time, and the subsequent displacement that has occurred in recent times. While much has changed for the Black community in East Austin, one building has stood in service of its community while enduring its own share of transformation. 

Line drawing of a one-story building facade in white on a solid orange background; white lettering says The John S. and Drucie R. Chase Building.
Image used to herald the opening of the newly renovated Chase Building

The building at 1191 Navasota Street in East Austin was built in 1952 to house what was then the Colored Teachers State Association of Texas (CTSAT). The CTSAT commissioned the building to serve as its headquarters and tapped John Saunders Chase as the architect to design the building. Chase was the first African American to graduate from the University of Texas at Austin’s School of Architecture and first to become a licensed architect in the state of Texas. The building that Chase designed would serve the CTSAT for 14 years before the association voluntarily dissolved in 1966 to merge with the Texas State Teachers Association. In 1968, the building was purchased by Dr. Ella Mae Pease and would become the House of Elegance. Now a beauty salon, the building served as a social hub for Black community in East Austin and a focal point for social events that Pease would facilitate. During its time as the House of Elegance, the building was added to the National Register of Historic Places.

Photograph of a one-story building with some brick on the facade. A small sign on the building reads House of Elegance in cursive writing.
The House of Elegance pictured at the end of its reign

After decades of service, the building was purchased in 2018 by the University of Texas at Austin and christened the John S. and Drucie R. Chase Building. Dr. Suchitra Gururaj, Assistant Vice President for Community and Economic Engagement, explains the decision to purchase the building:

“The idea for renovating the building came about in 2017, when House of Elegance owner, Pearl Cox, decided to sell the property. Former UT President Greg Fenves saw an opportunity to bring prominence to the university with the purchase of the first property designed by John S. Chase, the first Black/African American graduate of UT’s School of Architecture. When the purchase was made, we proposed that the space be repurposed as our next Center for Community Engagement (CCE) of the Division of Diversity and Community Engagement (DDCE). We consider the CCE to be the ‘front porch’ of our university, inviting community members and residents to connect with a large, decentralized, and often intimidating university that has not always welcomed people from diverse communities. In re-creating the Chase Building, we were not only able to celebrate Mr. and Mrs. Chase’s legacy but also to create a new life for the building that represented the intersection of diversity and community engagement. Like successful community engagement practice, our process of renovation was also collaborative, drawing on the mentorship of Donna Carter and relying on the expertise of Dorothy Fojtik and Nathan Goodman at UT Project Management and Construction Services. Over the period of the renovation, the project transformed from a simple university construction project into a true labor of love.”

Donna Carter, the first African American woman to become a licensed architect in Austin, led the effort to renovate the Chase Building. In 2022, the Chase Building reopened as the base for the Center of Community Engagement (CCE). This department within UT’s Division of Diversity for Community Engagement works to deploy university resources to foster connections with the community and meet community needs. In an effort to document the change that the Chase Building and East Austin have undergone over the years, the CCE began to conduct interviews with community members in 2019 and 2020 centering around the Robertson Hill neighborhood, the area that was home to the building. This project was advocated for by the Robertson Hill Neighborhood Association, which also suggested community members to interview for this project. The product of these interviews is the collection of oral histories and photographs that make up the John S. and Drucie R. Chase Building Archive. Housed in the BDA’s archival collection, these oral histories cover a range of topics including education, churches, and race and the City of Austin.

A black-and-white photo of Black boys and girls of various ages, as well as a male and female adult, who are posed for a school photo.
Archival photograph depicting a class from Blackshear Elementary

The Chase Building Archive consists of nine interviews with members of the East Austin community who have witnessed the change in the area. In her oral history, Mrs. Patricia Calhoun reminisces about growing up in the Robertson Hill neighborhood. She speaks about the streets that she grew up on that still remain today and the establishments in the community that do not. When talking about the importance of Black stories, Calhoun states, “Our stories are important to us because we’ve been here for generations, and yet the community is changing so rapidly that we could be erased without a thought.” This sentiment about the transformation of East Austin and the diminishing presence of its original community is observed throughout the collection. Mr. Clifton Vandyke Sr. jokingly remarks during his interview that “if we aren’t careful, this will be just like visiting a museum where people will come and say this is where African Americans used to live.” These quotes can be found on one of the four curated vignettes, “Storytelling and History,”  that weave together common themes found throughout the assorted oral histories.

An older Black gentleman in a blue short-sleeved shirt, is seated on a comfortable living room chair. The photo is taken through the lens of a video camera, and the viewer of the camera is also visible.
Mr. Clifton Vandyke Sr. seen through the camera lens during his oral history interview

Another vignette that can be found in the collection revolves around education and its importance with the community. Memories of attending schools like Blackshear Elementary School, Kealing Middle School, and Huston-Tillotson University testify to the many outlets available for education and the community’s pursuit of it. Ms. Lydia Moore spoke about the opportunity to choose which school she could attend after desegregation: “We had been told we would be the first group to have that opportunity to go anywhere we wanted to, but that we’d be ready. We need not be afraid. We need not feel inferior. But we would be ready.” 

The thirst for education within the community sprouted from wanting not only to survive, but thrive in the world. The sentiment of wanting to thrive in East Austin is shared throughout the collection and can also be found in CCE’s efforts to collaborate with the community from the Chase Building. Stephanie Lang, Director for community-facing programs at CCE, expresses the aim of this collection: “As historic East Austin continues to change rapidly, the amazing legacy of these communities are at risk of erasure. This archive is but one of the many efforts being done to preserve these stories and provide a way for many generations to access, reflect on, and honor this important history.” 

Two women pose together in a home, with a kitchen in the background. On the left is a younger Black woman with long dreads, glasses, and red lipstick who is wearing a red-white-and-black scarf; on the right an older Black woman in a bright blue top and dark blue blazer. Both are smiling.
Mrs. Vonnye Rice Gardner (right) poses with Stephanie Lang, who worked as the interviewer for the project

Rachel Winston, Black Diaspora Archivist and steward of the BDA, states, “As we celebrate the legacies of John and Drucie Chase, the work of CCE, and the history of the Chase building, it is necessary to also recognize the local community that has made all of this possible. The interviews in this collection offer an incredible glimpse into the lives and experiences of Austinites from historic, Black East Austin.” 

The John S. and Drucie R. Chase Building Archive is stewarded by the Black Diaspora Archive and can be accessed through a variety of avenues. The oral histories and photographs can be accessed online via the University of Texas Libraries Collections portal, here. The analog artifacts of the collection have been described in the collection’s TARO finding aid and can be requested in the Benson Latin American Collection’s rare books and manuscripts reading room. For more in-depth history about the Chase Building, visit CCE’s showcase on it and their series of videos centered around the building and its surrounding communities. Collections like the Chase Building Archive provide us the opportunity to learn how Black communities and spaces come about, and warn us about the diaspora that looms with their absence. 


Jeremy Thompson is a Diversity Resident Librarian at the University of Texas Libraries.

WHIT’S PICKS: Vol. 11 – GEMS FROM THE HMRC

Resident poet and rock and roll star Harold Whit Williams is in the midst of a project to catalog the KUT Collection, obtained a few years ago and inhabiting a sizable portion of the Historical Music Recordings Collection (HMRC).

Whit’s immersion in local music history and performance qualifies him as an authority as he explores and discovers some of the overlooked gems in this massive trove, and so in this occasional series, he’ll be presenting some of his noteworthy finds.

Earlier installments: Take 1Take 2Take 3Take 4Take 5Take 6Take 7Take 8Take 9, Take 10


Tyler Ramsey / The Valley Wind

Available at Fine Arts Library Onsite Storage

Onetime Band of Horses’ guitarist Tyler Ramsey takes a solo walkabout into deeply-wooded indie folk on The Valley Wind. From the Windham Hill-esque instrumental opener “Raven Shadow” through brooding ballad “1000 Blackbirds,” then on to the Laurel Canyon roots jangle of “Stay Gone” and the post-rock epic closer “All Night,” this collection draws you in to its warm campfire glow and unfolds its sad stories slowly. Ramsey’s reverb-drenched guitars and paper-thin tenor hearken Harvest-era Neil Young, but the songwriting is uniquely his introspective own. If tearjerker “Angel Band” doesn’t put a lump in your throat, check for a pulse.

The Men from O.R.G.A.N.

Available at Fine Arts Library Onsite Storage

This groovy compilation from under-the-radar hipster Italian label S.H.A.D.O. Records pays loving tribute to those bubbly analog organ sounds of the Hammond, Farfisa, etcetera, variety. Standout Euro and Euro-inspired tracks from Remington Super 60, Experimental Pop Band, Tony Goddess (Papas Fritas), and L’augmentation get the festive chamber pop party going, while Louise Philippe’s cover of Lennon/McCartney’s “I’m Only Sleeping” is simply divine. Don your finest threads, grab some wayfarers and a pack of Gauloises, and head towards that sunny Mediterranean beach in your mind.

Unheard (Rarities, 1991-2009) by Louis Philippe

Little Barrie /EP

Available at Fine Arts Library Onsite Storage

Before all the buzz from their Better Call Saul theme song, U.K.’s garage/soul/rock trio Little Barrie thrilled club crowds and vinyl aficionados alike with their fuzzed-out retro tracks. The vibe is vintage – style and audio-wise – and this four song EP lays out a sampler platter of smoky bluesy treats. The slow and sly backstage funk of “Burned Out” has all the swagger needed for a proper British single, while “Mudsticks” comes across like Link Wray on a Death Valley peyote trip. And so as they say across the pond, “Bob’s your uncle.” What a fine introduction to their debut album We Are Little Barrie this is.

Burned Out by Little Barrie

Eden Brent /Ain’t Got No Troubles

Available at Fine Arts Library Onsite Storage

Greenville, Mississippi’s Eden Brent proudly carries forth the banner of boogie-woogie piano blues, all the while mixing in elements of jazz and classic pop. Schooled at the University of North Texas (and even more so on the road with legendary Abie “Boogaloo” Ames), Brent cooks down the musical ingredients of New Orleans, Memphis, and even a pinch of the great American songbook into her own greasy gumbo of groove. Recorded in the Crescent City (with ex-Meter George Porter on bass), the vibe leans more Mardi Gras than Beale Street, but it’s Brent’s Bessie Smith late-night lowdown voice that keeps it all rooted in an earthy Delta mood.

Ain’t Got No Troubles by Eden Brent

Harlem Quartet / Take the A Train

Available at Fine Arts Library Onsite Storage

This critically-acclaimed string quartet put the art music world on notice with their debut album, Take the A Train. That Billy Strayhorn classic certainly shines as a title track, and even adds some needed levity to what is a fairly heavy collection. The bulk of the album is fleshed out by Wynton Marsalis’ brilliant avant-garde Creole-themed work “At the Octoroon Balls,” a modern American chamber music ode to Carnival culture. Other pieces foray into world music, further stretching the boundaries of fixed classical genres. On top of all this high level musicianship (and of even more importance), Harlem Quartet was founded by the Sphinx Foundation, a nonprofit promoting music education while working to build diversity in the field of classical music through outreach to underserved communities.


Harold Whit Williams is a Content Management Specialist in Music & Multimedia Resources. A celebrated poet, he is the longtime guitarist for the indie rock band Cotton Mather, and his solo projects include the lo-fi bedroom pop Daily Worker, as well as the retro funk GERVIN.

Read, Hot, and Digitized: The Freedmen’s Bureau Search Portal

Read, hot & digitized: Librarians and the digital scholarship they love — In this new series, librarians from the UT Libraries Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of, and future creative contributions to, the growing fields of digital scholarship.


Government documents can offer crucial insight into the histories of a nation, but traditional access can require skill with microfilm readers, resources to travel to an archive and astute understanding of how to use an index. As cultural heritage institutions take on more digitization projects, researchers have benefited from remote access to digital collections complimented by user-friendly browse and search features. This past November, the National Museum of African American History and Culture (NMAAHC) gifted scholars and genealogists alike with the Freedmen’s Bureau Search Portal, a valuable new platform to discover 1.7 million pages of digitized records from the Bureau of Refugees, Freedmen, and Abandoned Lands.

Screenshot of PDF showing a scanned image of report from the Bureau's collection with the transcribed text on the left side.
Researchers can download a pdf of records that include the transcribed text side by side with the scanned record image.

Created in 1865, the Bureau of Refugees, Freedmen, and Abandoned Lands, more commonly known as the Freedmen’s Bureau, aspired to help Southerners, including 4 million formerly enslaved people, transition to a new society after the Civil War. Congress charged the Bureau with providing social support like medical care, rations and educational opportunities, and tried to help poor individuals deal with seized lands and find employment. Abolished in 1872 by Congress, the short-lived Bureau’s positive impact on assisting formerly enslaved people is still debated. However, the utility of these records for genealogical and scholarly purposes is certain as they offer valuable insight into the Reconstruction period, including government policies and interactions between freedmen, white southerners and government officials.

Previously, portions of these records have been available online for browsing, but were not always searchable or in one place. The NMAAHC interface allows users to filter records by collection, record type, location and date. In addition to a keyword search, these features help users discover materials like ledgers of employment, marriage records and reports describing criminal and civil disputes. Thanks to efforts to index names and locations, users can also search the names of enslaved and former owners, which is of particular use to genealogists and individuals researching family histories.

The indexing was the first step to the collection portal’s debut on the Smithsonian-developed digital asset management system, “Enterprise Digital Asset Network (EDAN)”. This system connects multiple Smithsonian digital collections and allows users to access metadata using the institution’s own API. The user-friendly search interface is built using the open source search platform, Apache Solr, which UT Libraries also uses for our own Collections portal.

Screenshot of the search portal results page. It shows options to filter by name, date and keyword search. The results show the titles of reports and the option to "Quick View Transcription"
Screenshot showing the search results page for record locations indexed from Texas. Users can quickly review the transcribed text from the results page without having to scroll through the scans.

What makes the NMAAHC’s search portal especially notable is its support from a crowdsourcing transcription project, a collaborative endeavor from the NMAAHC and Smithsonian Transcription Center. This is the largest crowdsourcing project the Smithsonian has ever undertaken and so far, 400,000 pages have been transcribed by volunteers. The records’ cursive script makes it challenging to automatically transcribe using OCR, and the project will greatly benefit from transcription efforts. These efforts are invaluable as the letters and reports that provide more details beyond statistical ledgers are more often than not untranscribed.

Screenshot of the Smithsonian Transcription Center project page for the Freedmen's Bureau. It shows the percentage completed for each project, with the first two being at 87% and 86% percent complete.
Screenshot showing percentage completion of Freedmen’s Bureau transcription projects from the Smithsonian Transcription Center.

For now, users can still search the indexed data for names, places and dates, and additional information provided by volunteers in their transcription efforts like subjects and keywords. The records themselves and the transcription project will provide scholars a glimpse into life during the Reconstruction period and allow genealogy researchers to make meaningful connections with ancestors and family histories.

Explore more in these UT Libraries resources:

New UT Libraries Database! African American Heritage

  • Digital resource exclusively devoted to an American family history research containing primary sources devoted specifically to African American family history, including census records, vital records, freedman and slave records, church records, legal records, and more.

Crouch, Barry A. The Freedmen’s Bureau and Black Texans. University of Texas Press, 1999.

Farmer-Kaiser, Mary. Freedwomen and the Freedmen’s Bureau: Race, Gender, and Public Policy in the Age of Emancipation. Fordham University Press, 2010.

Mears, Michelle M. And Grace Will Lead Me Home: African American Freedmen Communities of Austin, Texas, 1865-1928. Texas Tech University Press, 2009.

Message from the Vice Provost

Friends,

lorraine j haricombe

As we begin a new year and new semester, let me offer best wishes for the coming year.

We are looking forward with great hope to the coming calendar year, but I want to first reflect on the last year.

It was largely a true return to normal operations in 2022, and as such we began to build strategic plans that reflected some stability in our outlook. COVID as a pandemic began to fade into the background as the spring progressed, though surges early and late in the year reminded us to remain vigilant. The university launched its “What Starts Here” capital campaign in March with a modest $6 billion goal, while our spring 40 Hours for the Forty Acres work resulted in over $54,000 in donations. We built our own “Plausible Futures” framework as UT released its “Change Starts Here” strategic plan, and redoubled DEI effort with the launch of the “You Belong Here” Plan for an Equitable and Inclusive Campus just as we were approving recommendations for our own IDEA Action Plan. Provost Sharon Wood released the final report of the Working Group on Sustainable Open Scholarship. This past fall, the Texas Library Coalition for United Action was finally able to close out negotiations resulting in a historic agreement with Elsevier that means lower costs and greater access to Libraries’ resources. And we continued to refine the “Plausible Futures” 3-year planning work. As campus wrapped for the year, we began preparatory work for a significant renovation on the entry level of the Perry-Castañeda Library (PCL).

All in all, we had a remarkable year after a prolonged period of unexpected challenges.

Looking forward, we anticipate the opening of the new Digital Scholars Lab space in PCL. The adjacent Scholars Commons will further enhance our work on the library-as-platform concept, collocating robust digital collaborative tools and resources with our traditional collections, services and expertise. When this large area opens later in the fall, we hope for it to reenergize the Libraries as a community center on campus in ways that will facilitate interaction and innovation among faculty, scholars, researchers and students. Our goal is to leverage the hub for both in-person connections and the virtual environments that we have developed in recent years.

We will implement several projects to enhance our users’ experience in a digital networked environment.  To that end, we will upgrade and deploy technological tools to enhance access to Libraries’ resources while increasing digitization work to make more content available online to our users including discoverability of online resources. We’ll be moving forward on implementation of our IDEA Action Plan and related work to embed IDEA concepts and practices in UT Libraries’ values and operations. And the coming year provides the opportunity to strengthen our approach to open access, open education and open scholarship principles with additional tools, support from the campus community and an endorsement from the university.

On behalf of the entire University of Texas Libraries, have a great spring semester, and Hook ‘Em!

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