It's a beautiful spring-like day on the academic quad. The sound of laughter rings out from the large campus tour gathered outside Barnum around Jumbo. One might think the giggles are the result of the guide's great sense of humor, but the reality is far removed. The dismal state of the gray elephant has been the source of much derision - a tailless Jumbo with a decaying trunk doesn't leave the best impression with prospective freshmen.
But until repairs are made, visitors have the opportunity to see that Tufts actually has a long history of tradition and individualism other than its famous mascot. Melville Munro, a graduate and former professor, has attempted to document the early Tufts experience through photography. Recently opened in the Tufts University Gallery in the Aidekman Arts Center, the exhibit, entitled "Melville Munro: the Legacy," illustrates the essential character of Tufts' history.
A collection of over 100 black-and-white photographs, the project marks the first time these images have been displayed as a thematic group. The selections are derived from the Munro Collection, currently housed in the Tufts Digital Collections and Archives.
The various pictures, representing the people, places and traditions of the University between 1915 and 1940, were chosen to pay homage to Munro, and stand as part of Tufts' 150th anniversary project.
Munro, a member of the engineering department, dedicated his spare time to the creation of a photo-documentary that began in 1913 with "Photographic History of Tufts College," the project's first volume. By the time of his death 32 years later, the project exceeded 30,000 images and is now called the Munro Collection.
As evidenced by his high quality prints, Munro was an excellent and precise photographer, committed to superior craftsmanship. Proud of his Tufts background, he also promoted the school through the publication of his works in local papers, the yearbook, Tufts catalogues, and various posters. His most significant contribution, however, remains the 75 volumes of images that comprise his collection of historical scrapbooks.
Preserved in frames are memories of a bygone era, of traditions and people long since past. The current exhibit takes advantage of the many memories behind the photos, introducing the viewer to significant historical facts through informative panels at the show's entrance. Included among these Tufts notables are Edith Linwood Bush, the first female engineering professor at Tufts, and Bernard Harleston, the first African American tenured Tufts faculty member.
Clusters of themed photos follow these initial images. Images are grouped according to subjects such as student life, sports, academics, landscapes, and people. Each section provides insight into the life of the past, encouraging nostalgia for lost customs. For instance, in the student life section, Munro documents a 1926 Harvard-Tufts ballgame - the rivalry existed even then. There's a spring picture of the "Jumbo Rush," when three dummies of Jumbo were placed in a reservoir and the first three students who managed to scramble to the top received a free yearbook. Pictures of commencement day abound; students decked out in caps and gowns could be last year's graduates.
Other photos emphasize their date. In the selection documenting World War I and Tufts' involvement in the war effort, pictures of female students darning a flag remind us of the patriotism of yesteryear. Meanwhile, the inclusion of an old candlestick phone and Underwood typewriter highlight the advances of the past century. Such change is evident in the quaint photos of dorm rooms. The pennants, books and conscientious attitude conveyed through the black and white certainly provides contrast to today's tiny and typically disarrayed rooms.
Almost every sport is represented among the photos of old teams in uniform: track, field hockey, baseball, tennis, archery, wrestling, and even interpretive dance. Student productions are also documents - a stage of mermaids from 1926 is sure to appease the drama crowd. Meanwhile, there's a photo of Tufts' original paper, The Weekly, as well as images of sorority girls, the college band, performers, and even a romantic couple on the steps of Goddard Chapel.
Academic life is also portrayed. "Fred Lambert Dissecting Rats" is an unforgettably graphic image for even the most brave-hearted of biology majors, while the gleaming checkered floor and shiny chairs of the dental clinic may inspire a warm glow in a pre-dental student.
Nevertheless, the most endearing images are those of the individuals. The "Organ Grinder" was a daily visitor to Professor's Row, whose woebegone face and archaic organ speak of the hardship of his times. Meanwhile "Freddy Derby" stands proud in uniform as Tufts entire 1926 police force, and "Charlie of the Golf Course," with his hoe and rubber boots, speaks of the community of Tufts' history.
While there are many charming portraits, the sole image of the Munro himself shows him standing atop an enormous tripod, emphasizing his mission to document Tufts' community, life, and history through pictures - pictures that, upon observation, may encourage some nostalgic pride in today's Tufts students.
