This working document for guidelines for the cataloging of performing arts graphic materials is being developed under the auspices of the Dance Heritage Coalition (DHC). Participants in the DHC project have met over the past year and a half to discuss cataloging practice and problems related to the cataloging of graphic materials documenting performance. This working document responds to issues raised during meetings and suggests guidelines for applying existing rules to performing arts materials.

The guidelines will continue to develop as cataloging work is undertaken by, and input is received from, DHC project sites. As this working document is distributed, catalogers at each participating institution will review the guidelines in relation to work they are currently undertaking or have undertaken in the past to determine the relevance, accuracy, applications, and usefulness of the guidelines to the special cataloging needs of dance and other performing arts documentation. The guidelines are intended to simplify and standardize cataloging practices for graphic materials among the DHC institutions.

This document covers the description and the provision of access points for graphic materials. They follow the sequence of catalogers’ operations: first, describing the item being cataloged (fields 2xx-5xx); then determining and establishing the access points for retrieval of the item (1xx, 6xx-8xx). The section on access points includes the establishment of main entries, if applicable, as well as added entries. The rules proceed from the general to the specific; some rules are designated as alternative rules or as optional additions.

The guidelines in this draft are based on rules found in Anglo-American Cataloging Rules, 2nd ed., 1988 revision, including 1993 amendments (hereafter referred to as AACR2); and Graphic Materials: Rules for Describing Original Items and Historical Collections, compiled by Elizabeth W. Betz, 1982 (hereafter referred to as GM:RD). This document follows the basic structure of GM:RD, with the corresponding GM:RD rules given in bold and/or parentheses, e.g. 1B1, (1B1). Corresponding AACR2 rules are given in brackets, e.g. [8.1B, 1.1B].

In the USMARC examples that follow, | indicates a field delimiter and [...] indicates an ellipsis. For readability, a space has been included following the delimiters. Please follow the directions for the system to which you are inputting for appropriate spacing.

These guidelines focus on graphic materials that document performances or dance-related events, particularly production photographs and original costume and set designs. Other items covered are posters, prints, paintings, and drawings. While cataloging at the item level may be undertaken for graphic material, performing arts collections generally contain such quantities that this level of cataloging is rarely feasible, except in brief in a finding aid. Catalog records at a collection, series, or subseries level may be created for graphic material described in more detail in a finding aid. . Examples of finding aid descriptions and related catalog records are included as an appendix.

Among the groups of materials frequently found in performing arts collections and discussed here are [DHC Participants: Please look for or create sample records for any of theses groups which you have in your collections]:

Photographic materials:

groups of photographs depicting a single performance or production, groups of photographs depicting a dance company’s performances or productions of a single choreographic work over the course of time

groups of photographs that are maintained as an active subject file on a single choreographic work (or on another subject), photographic collections by a single photographer, series within such a collection, and items within such a collection

photographic collections brought together by an individual collector which may cover a variety of topics

groups of photographs of single individuals or performing groups

individual photographs of significance

Designs and drawings:

groups of designs documenting a single performance work, either for a single performance or several performances over the course of time

an individual design for a performance work

a drawing, or group of drawings, relating to a performance work, but not a design

a group of designs by a single artist for a number of productions

a group of designs and drawings collected by a person or institution

architectural drawings [?]

Prints and paintings include:

individual portraits, or groups of portraits, of performers

theater buildings (exterior and interior)

theatrical scenes

scenography

social dance scenes and/or invented scenes

costume prints

Posters include:

individual posters

groups from a theater

groups from a producing company

groups for a particular performance work

groups collected by an individual

The above list is not inclusive. Examples for most of these types are included throughout the guidelines, as appropriate.

0B1.1. For single items, treat as the chief source of information printed or manuscript text provided by the creator or creating body on or with the item. When the text is not known to have been provided by the creator or creating body, use information from the following sources, in this order of preference:

a) text on or with the item provided by sources other than the creator or creating body

b) reference sources, such as published descriptions, catalogues raisonnés, exhibit catalogs, auction catalogs, dealers’ catalogs

c) any source, such as unpublished descriptions, including provenance and accession records, inventories, advertisements, personal information, etc.

In cases where the title is taken from a chief source of information other than a) above, describe the chief source in a note.

0B1.2. For collections, treat as the chief source the whole collection itself, relying first on textual information on the material and its containers, then accompanying textual material, such as finding aids, provenance and accession records, then the visual content of the material itself.

Follow AACR2 and ISBD rules for punctuation (see Appendix for punctuation rules).

Records should include at a minimum the following elements:

Level 1:

Collective or supplied title. – date(s) of execution – physical description (extent and medium only) – note(s) – subject and other added entries.

Level 2:

Title proper / statement(s) of responsibility. -- date(s) of execution. -- physical description. -- note(s). -- subject and other added entries.

1B1. Title proper is transcribed from the chief source of information for single items. If the title in the source disagrees with one or more other sources, give information about variant title(s) in varying form of title field (246, 1H). When no title for a single item is in the chief source, but one is transcribed from another source, enclose it in brackets and cite the source in a general 500 note (see 5B1). When a label or writing on a drawing or photograph, not necessarily intended as a title, is descriptive, this information may be added by the cataloger for clarity.

Frequently theatrical posters will have scattered title elements. Deduce a logical sequence and record the titles in semantic order, preferably company name, production title, venue, date (or production title, company name, venue, date).

1B2. When a collection of graphic items is acquired with a title specified by the donor or source, transcribe it as the title or use a suitable collective title as it appears on the collection.

If a collection of graphic items lacks a title, supply a title by which the collection is known or a title indicating the nature of the collection. For formulating titles for a collection grouped by production, devise a brief descriptive title and record it without brackets. Use a brief title of the choreographic work or performance followed by a brief description of the type of material.

Examples: 245 00 |a Planetomania, costume and set designs for International Ballet […]

245 00 |a Airs de ballet, performed by the San Francisco Ballet :|b a collection of photographs […]

For single items with no title information in the chief source (design itself, accompanying material, etc.), devise a brief descriptive title and enclose it in brackets.

Example: 245 00 |a [Costume design for female dancer …]

Generally do not use a GMD for graphic materials. Because the GMD [Graphic] may be confusing to the researcher, prefer identifying the graphic nature of the material in the title itself, as well as in the physical description area (300 field, see 3B).

Record the name of the photographer, artist or designer responsible for the graphic work in the statement of responsibility if known, as it appears on the item or accompanying material. Record statements of responsibility relating to the production depicted in the graphic work in a creation/production credits note (508 field, see 5B7a) or a participant or performers note (511 field, see 5B7b).

1G4.. Record the statements of responsibility in the order in which they appear on the item, or in other sources.

1G5. When up top three persons or corporate bodies are responsible for the same function, record all the names in the statement of responsibility. If, however, the number of responsible persons or bodies is more than three or some are unidentified, record the names in a note

Example: 245 00 |a Nutcracker, performed by New York City Ballet / |c photographs by Jack Mitchell, Nan Melville, and Martha Swope.

Example: 245 00 |a Latin American festivals and folk dance photographs

500 |a Photographs by various identified and unidentified field and news photographers including Leah Marie Boehm, Amber Cualfield, Marissa de Leon, John Franklin, and Carl Weinrother

500 |a Dances depicted included the Cuando and the Pericon

1G8. Add a word or short phrase in brackets to the statement of responsibility when the relationship between the title and the person(s) or body (bodies) named in the statement is not clear.

Use this field to note varying forms of the title associated with the item, whether they are or are not on the item. These variant titles are recorded in field 246 only if they differ substantially from the title statement in field 245 and if they contribute to the further identification of the item. The first indicator position contains a value that indicates whether a note and/or added entry is generated from the field. The second indicator position contains a value that specifies the type of title recorded in this field. It is used to generate a display constant that generally precedes titles when notes are generated from this field. Initial articles (e.g., The, La) are not recorded in field 246 unless the intent is to sort on the article (e.g., El Cid).

[Need example]

Record information regarding the "edition" of a print in a general note (500 field, see 5B1) rather than in the 250 field.

Use the publication, distribution, etc. area to record information about the place, name and date of publication and/or distribution as well as printing and manufacturing activities considered important for graphic materials that have been commercially produced. For unpublished material and collections, this area consists only of the date element (260 subfield c).

For graphic materials, a publisher may be found with prints, published photographs (i.e. postcard series, stereographs, etc.), and sometimes posters. For drawings, designs, and paintings, this area would usually consist only of the date element.

2B1. When no publisher is named but a printer is, assume that the printer is equivalent to the publisher.

Record the place of publication, distribution, etc. of a published graphic item in the form in which it appears in the source. Add the name of the country, state, province, etc., if it is considered necessary for identification. When no place or probable place can be supplied, give the abbreviation "s.l." in brackets.

Transcribe the name of the publisher in the full form in which it appears in the source. If publisher is unknown, supply abbreviation "s.n." in brackets.

Give the date or span dates of commercial publication, etc. as a year or years. Optionally, include the month and day as found on the material. Add the date of copyright following the publication date if they differ. When no date is known, supply a probable date in brackets (for guidelines for recording probable and uncertain dates, see Appendix).

Examples: 245 04 |a The celebrated pas des Déesses in the Ballet le jugement de Paris … / |c color lithograph by J. Bouvier from his own drawing.

260 -- |a London : |b T. McLean,|c1846.

100 10 |a Schneider, Ernst.

245 00 |a Anna Pavlova at home :|b postcard photographs /|c photographed by Ernst Schneider [et al.]

260 -- |a Berlin : |b Ross Verlag, |c [ca. 1910]

[Need example for month and day, also example with copyright and publication dates that differ]

2H1. Give the date or span of dates of execution as a year or years. Optionally include month and day as found on the material.

Example: 245 00 |a International Ballet costume and set designs and photographs […]

260 -- |c 1939-1953.

2H4. When no date is known, supply a probable date enclosed in brackets (for guidelines for recording probable and uncertain dates, see Appendix).

Example: 245 00 |a Collection of Viennese costume designs formerly in the possession of Max Reinhardt […]

260 00 |c [ca. 1890-ca. 1935]

The physical description area consists of the following elements:

Statement of extent -- : other physical details -- ; dimensions -- + accompanying material.

For list of standard abbreviations used in 300 field, see AACR2 Appendix B.

There are four ways of stating the extent:

a) Record the exact number of single items.

1 drawing

4,945 transparencies

16 pictures

b) Record the approximate number of single items.

ca. 465 prints

ca. 2,500 photographic prints

c) Record the number of containers or volumes.

1 portfolio

8 albums

65 boxes

d) Record the linear or cubic measurement.

56 cubic ft.

24 linear ft.

When describing an item which contains a number of parts or a group of materials and a more specific statement of extent is desirable, add the number of component parts in parentheses. When such details are numerous or complex, give them in the note area. Alternatively, provide a repeatable 300 field to describe each of the different materials

Example: 300 -- |a 4 albums (65 photographic prints, 2 broadsides, 3 postcards) […]

300 -- |a 1 portfolio (40 lithographs)

245 00 |a Henri McDowell collection of photographs

300 -- |a 300 photographic prints

300 -- |a 7,000 slides

300 -- |a ca. 3,000 photonegatives ;|c 35 mm.

Chose a term from the list below for the specific material designation (SMD):

collage

drawing

painting

photomechanical reproduction

photonegative

photographic print

picture

print

slide

transparency

[List from AACR2 is attached - also check in TGM and with Pat]

Other physical details area includes information that:

describes more specifically the means by which the image was produced

gives an indication of color

describes the means by which text with the image was produced

For more specific information see GM:RD 3C1-3C4.3.

3D2.1 Generally, the statement of dimension shows the height and the width. Height is always expressed first (e.g., 44 x 56 cm. indicates that the item is 44 centimeters high and 56 centimeters wide).

3D2.2 Generally, give the height and width for graphics in centimeters rounded up to the next whole centimeter (e.g., if a measurement is 37.1 centimeters, record it as 38 cm.). Use the abbreviation "cm." The following rules give guidance for special cases.

Optionally, for single items, give the dimensions to the nearest millimeter.

Since the size of some photographic material is standardized in the trade in inches or millimeters, the standard size may optionally be given in these cases. Use the abbreviations "in." and "mm."

Examples: 300 -- |a 1 drawing ;|c 15 x 18 cm.

300 -- |a 1 photographic print ;|c 10 x 8 in.

300 -- |a 1 photonegative ;|c 35 mm.

Optionally, add inches in parentheses after the metric size, rounding off the size up to the next quarter inch. (When using the option of measuring to the nearest millimeter, give the additional size to the nearest eighth inch.)

Example: 300 -- |a 1 print ;|c 20 x 25 cm. (8 x 9 ¾ in.)

3D3.2. When an image consists of more than one sheet, measure the whole sheet (as is the case with three-sheet posters for theater advertising).

Example: 300 -- |a 1 picture (3 sheets) ;|c full sheet 220 x 120 cm.

Optionally, when the sheet sizes are uniform give the individual sheet sizes.

Example: 300 -- |a 1 picture (3 sheets) ;|c each sheet 110 x 60 cm.

3D3.3. For unmounted photographic prints and those not on standard mounts, generally record the dimensions of the primary support (e. g., when photographic prints have been attached by pressing).

Examples: 300 -- |a 1 photographic print ;|c 10 x 8 in.

300 -- |a 1 photographic print ;|c 14 x 16 cm.

3D3.4. For photographic prints affixed to standard mounts, such as cabinet cards, record only the dimensions of the mount.

Examples: 300 -- |a 1 photographic print on stereo card :|b stereograph ;|c9 x 18 cm.

300 -- |a 1 photographic print on cabinet card :|b sepia toned ;|c17 x 11 cm.

300 -- |a 1 photographic print on carte-de-visite mount ;|c 11 x 6 cm.

3D3.5. For photonegatives, record only the dimensions of the base of the emulsion.

Examples: 300 -- |a 1 photonegative ; |c 35 mm.

300 -- |a 1 photonegative :|b glass ;|c4 x 5 in.

3D3.6. Optionally, add other dimensions that help to identify the item (e.g., when there is a large difference between the image and primary support size) or that help to assess storage or exhibition requirements. Specify the aspect that has been measured. Separate each additional dimension by a comma.

Examples: 300 -- |a 1 print :|b etching ;|c plate mark 49 x 51 cm., on sheet 68 x 72 cm.

300 -- |a 1 photographic print ;|c image 7 x 5 in., on sheet 10 x 8 in.

300 -- |a 1 drawing :|b pen and India ink ;|c image 13 x 14 cm., on sheet 33 x 42 cm.

3D4.1. For circular shapes, give the diameter, specified as such Use the abbreviation "diam."

Examples: 300 -- |a 1 print :|b mezzotint ;|c diam. image 6 cm., plate mark 8 x 7 cm., on sheet 24 x 17 cm.

300 -- |a 1 photographic print :|b Kodak bull’s eye ;|c diam. image 5 cm., on sheet 16 x 14 cm.

3D4.2. For oval shapes, give the major and minor axes, specified as "oval".

Example: 300 -- |a 1 print ;|c oval image 7 x 5 cm.

3D4.3. For an irregular shape, measure by squaring it off at the greatest points with two transparent triangles or strips of plastic. Use the abbreviation "irreg." And, if desirable, whatever word or phrase describes the shape.

Example: 300 -- |a 1 collage :|b photographic prints, newspaper clippings, paint ;|c irreg. pentagon image 41 x 36 cm., on sheet 57 x 48 cm.

When a sheet has been cut on or inside the plate mark subsequent to the creation of an intaglio print or the plate mark is indistinguishable, give the dimensions of the sheet and explain in a note.

When an item is kept folded, give the dimensions of the primary support and add the dimensions when folded.

Example: 300 -- |a 1 print ;|c 36 x 63 cm., folded to 10 x 20 cm.

3D7.1. When the full image is not visible because of nonremovable mat or other obstruction, give the sight measurements and, if desirable, the dimensions of the mat, etc.

Examples: 300 -- |a 1 print :|b lithograph ;|c visible image 26 x 30 cm., in mat 34 x 38 cm.

(window mat and backing are glued together)

300 -- |a 1 photographic print :|b daguerreotype ;|c visible oval image 7 x 6 cm., in case 11 x 9 cm.

3D7.2. When the item is in a frame of specific historical importance, the frame is considered a part of the work itself, or the work is permanently framed at the request of the creator or donor, give the dimensions of the frame separately, specified as such.

Example: 300 -- |a 1 painting ;|c visible image 30 x 24 cm., in frame 47 x 41 cm.

With daguerreotypes, specify the plate size, if known.

Example: 300 -- |a 1 photographic print :|b ninth plate daguerreotype ;|c7 x 6 cm.

3D9.1. In general, give the measurements for a collection according to the terms of the first statement of extent and record only the outside dimensions. When some images are designed to be viewed horizontally and some vertically, give the measurements according to the majority.

Examples: 300 -- |a 75 photographic prints ;|c 7 x 9 in.

300 -- |a 1 portfolio (28 etchings) ;|c 21 x 30 cm.

300 -- |a 6 albums (280 carte-de-visite photoprints) ;|c 54 x 50 cm.

300 -- |a 65 photonegatives :|b nitrate ;|c 2 ¼ x 2 ¼ in.

300 -- |a 25 drawings :|b pen and India ink ;|c 16 x 27 cm.

300 -- |a 247 photographic prints ;|c 5 x 4 in.

3D9.2. When the items, containers, or volumes are of two sizes, give both. When they are of more than two sizes, give the greatest height of any of them followed by the greatest width of any of them and the words "or smaller."

Examples: 300 -- |a 488 photographic prints ;|c 4 x 5 in. and 5 x 7 in.

300 -- |a 3 albums (633 photographic prints) ;|c 29 x 33 cm. or smaller.

300 -- |a 55 prints :|b lithograph ;|c 71 x 44 cm. or smaller.

Record the name of the accompanying material at the end of the physical description or record the name and details of the accompanying material in a note (500 field, see 5B1).

Example: 300 -- |a 200 photographic prints ;|c 20 x 25 cm. +|e 1 ms. catalog.

When a collection contains material falling into more than one distinct category, for which separate physical descriptions are desired, record each part in a separate physical description area (300 note).

Examples: 300 -- |a 280 photographic prints ;|c 13 x 18 cm.

300 -- |a 150 photonegatives ;|c 35 mm.

300 -- |a 65 prints :|b relief process ;|c 29 x 22 cm.

300 -- |a 8 albums (550 photographic prints) ;|c 51 x 46 cm. or smaller

Optionally, provide information about the general arrangement of a collection in a 351 note, specifying the structure and order of the material in the unit being cataloged. Organization is in subfield a; arrangement is in subfield b.

Examples: 351 -- |a [Example from Roger Wood collection - K. Nickeson or P. Rader to provide ]

351 -- |b Arranged alphabetically by production name.

4A. [8.6A] When applicable, make a series note (440 field, traced as a series title added entry). Use the series area only when cataloging published material that bears a series title.

[Need example from costume print series]

5A. If a specific MARC field is available for a particular type of note, use that field rather than the generic 500 note. For example, use the creation/production credits note (508 field, see 5B7a) to provide information regarding credits for a dance production instead of a general 500 note. Subfield 3 (Materials specified) may be used as the first subfield to indicate the part of the described item or collection to which the note applies. Use subfield 5 for notes that do not apply to a universal description of the item.

Order of notes: When recording notes which further describe data elements already found in the catalog record, follow the sequence of the catalog record whenever possible, e.g. title, statement of responsibility(s), edition/version, date, physical description, etc.

Generally, follow GM:RD guidelines for the note area. Discussion here will be limited to those notes which are of particular importance to performing arts catalog records and/or need clarification.

There are display constants inherent in some MARC fields that may be implemented differently in different systems. Where prescribed or recommended introductory wording is generated by a given system implementation, such wording should not be incorporated in the cataloging itself. In some instances a desired display constant may vary from that supplied. In these cases use the appropriate indicator to suppress the display constant and provide the desired wording.

5B1. General note (MARC field 500)

Make general notes for the following:

1. Source of title, if it does not appear on item [8.7B3]

Example: 500 -- |a Title from inscription on frame.

2. Title information not contained in note generated from varying title field (246, see 1H) or picture captions that are considered significant in terms of potential access (5B2) [8.7B4]

3. Publication, state, and edition note for details concerning publication, distribution, printing, and manufacture that are not included in the body of the entry if they are considered important (5B8) [8.7B7]

[Need example]

4. Optionally, physical description/condition details that are not already included in the physical description area (300 field, see 3B). (5B9) [8.7B10]

[Need example]

5. Accompanying material that is not described in the physical description area (300 field, see 3B). (5B10) [8.7B11]

Example: 500 -- |a accompanied by program for 1993-1994 season.

6. Markings and stamps (5B9.6). On designs, describe union stamps; for photographs, record photographers’ stamps. Record stamps which provide information about conditions [don’t know if I read this word correctly] under which work was created or which provide information valuable to future use of the material. The use of field 562 (copy and version identification note) for information about markings and stamps is being discussed and may be implemented in the future.

Examples: 500 -- |a Stamp L. R.: United Scenic Artists Local 829/Official Registration Stamp Design #____.

500 -- |a Copyright stamp: Copyright by Martha Swope, 1975.

500 -- |a Stamp: Property of and must be returned to Boris Aronson.

Give the language(s) of the spoken or written content of a graphic item unless this is apparent from the rest of the description.

For graphic material, provide statements of responsibility not recorded in the title area. Make notes on persons, corporate bodies or organizations connected with a work if they are not already named in the description.

Example: 508 -- |a Designed in collaboration with […] Jennifer Tipton.

If the graphic material being cataloged provides documentary evidence of the work of those responsible for the production or performance, provide a note with credits information relating to the production in the following order: choreographer, composer, librettist, scene designer, costume designer, lighting designer. The sources of information for credits are, in order of preference: item(s) itself, program from performance, reference book containing repertory, first performance note in uniform title authority record.

Example: 508 -- |a Credits for [name of production]: choreographer, Martha Graham; composer, Louis Horst; scene and costume designer, Isamu Noguchi.

Optionally, production information may be included in the biographical/historical note (545 field, see 5B15).

If the graphic material being cataloged documents a production or performance and cast information is not provided in the title, list dancers in order of billing on program, if known. Optionally, include role in parentheses following the name (suggested for major identifiable roles). Begin note with "Dancers:" (use first indicator 0 to suppress display constant "Cast"), followed by names of dancers performing in the work. Do not include list of entire company or corps de ballet if it is extensive, but end note with "and company members", or "and corps de ballet".

Example: 511 0- |a Dancers pictured: Amanda McKerrow (Sugar Plum Fairy); Mikhail Baryshnikov (Nutcracker) […] and corps de ballet.

Include a note on the date/time and/or place of creation, or capture, of the item, if such information is considered important and is not included elsewhere in the record, e.g. the title area for event-based photographs.

Example: 518 -- |a Photographed during dress rehearsal, 1975.

Similar in purpose to a 500 "Sources used" note, this field is reserved for published articles or other citations describing the work being cataloged. Cite a published source when it would substantiate information provided by the cataloger or when it would provide a more detailed description of the material being cataloged.

Example: 510 4- |a Harvard catalogue of engraved dramatic portraits,|cVol. I, no. 68, p. 22.

Use this field with discretion; do not seek the information unnecessarily. Generally this is used when cataloging individual prints which might be found in catalog raisonnées. This field will automatically display the introductory term: "Reference:".

Use to provide information about the subject content of the item if that information is not evident through contents notes or another area of the catalog record. Subject description notes may be needed to justify subject added entries that provide access to the subject content of the work.

If desired, use this note for a brief objective narrative summary of a group of images or for clarification of the content, meaning, or iconography of a single item. (The note will begin with "Subject" followed by a colon, when first indicator 1 is used.)

Examples: 520 1- |a Collection consists of costume and set designs for nine International Ballet productions, along with production photographs and portraits of several dancers. Included are the designs of Hein Heckroth, Doris Zinkeisen, William Chappell and Prince Aleksandr Shervashidze.

520 1- |a Stage designs depict a Russian ghetto at the beginning of the 20^th century. Included are scenes of interiors of homes, a temple, a city street, […]

Use for describing historical context of the performance or event for which the items were produced or which they document. Indicate choreographer, librettist, composer, set and costume designer and, where appropriate, on whose work the choreographic work was based. This note field may be used for designs which do not directly represent or indicate information pertaining to a performance or production of a choreographic work.

Examples: 545 -- |a Historical note: Ode was choreographed by Leonide Massine to music by Nicholas Nabokov. The libretto was written by Boris Kochno. Costumes and decor were designed by Pavel Tchelitchew.

545 -- |a Historical note: Le Spectre de la Rose was choreographed by Michel Fokine to Carl Maria von Weber’s "Invitation to the Dance". Libretto was based on a poem by Théophile Gautier. Costumes and decor were designed by Léon Bakst.

Optionally, the creation/production credits note (508 field, see 5B7a) may be used to provide production information for works documenting the performance.

Optionally, make a note of the specific contents of a published collection having titled parts. The note should begin with display constant "Contents:" (first indicator 0) or "Partial contents:" (first indicator 2). Suppress the display constant (first indicator 8) on all but the first 505 field. Add the number of cards, frames, slides, etc., when appropriate.

Examples: 505 0- |a Flore--La Tirolienne--La Bayadère--La Naiade--La Napolitaine--Marie Taglioni.

505 0- |a Air and variations (6 photographs)--Alma Mater (2 photographs)-- Apollo (12 photographs)--Charade (2 photographs) […]

When cataloging as separate records two or more separately titled images on a single support or parts either bound together or in one container, make a note beginning "With:" listing the other images or parts.

Example: 501 -- |a With: Views of Venice.

[Need a better example for this - dance examples?]

Provide information concerning the history of the described materials from the time of their creation to the time of their accessioning, including the time at which individual items or groups of items were first brought together.

This field contains information about the immediate source of acquisition of the described material and is used primarily with original or historical items, or other archival collections. Record how the material was acquired (i.e., gift, purchase, deposit, transfer, etc.) and the donor or source (i.e., the immediate prior custodian). Unless this information is confidential, follow the status statement with the source and date of acquisition. In addition, the donor’s relationship to the material may be indicated. Add the year or years of accession (and the accession number, if desirable) to the name of the donor or source.

Examples: 541 -- |c Transfer|afrom the Dinwiddy collection.

541 -- |c Purchase, |a Classic Photographic Apparatus,|d1977.

541 -- |c Anonymous gift,|d1979.

541 -- |c Gift and purchase, |d 1903-1936.

When the material is not generally available to researchers, or when access and handling is restricted, make a note either simply stating the fact of this restriction or specifying the details. Optionally, introduce this note by the word "Restricted:" so as to alert the user. If the restrictions are lengthy, simply indicate that restrictions exist and refer the user to the appropriate paperwork or person.

Examples: 506 -- |a Restricted: Closed to researchers until 1999.

506 -- |a See reference librarian.

506 -- |a Material extremely fragile; access by appointment only.

If applicable, give information about terms governing the use of the described materials after access has been provided, e.g. copying or duplicating restrictions.

Example: 540 -- |a Permission to publish must be obtained from |b ADF and the Paul Taylor Dance Company.

Give the location of any associated material related by provenance, e.g., related manuscript holdings, set models, costumes, etc.

[Need Example:]

Make a note on any guides the repository may have to the organization and contents of a collection. If the guide has been published, make a standard bibliographic citation for it. Note also the existence of other related unpublished material, such as indexes, card catalogs, caption lists, lecture notes, and checklists, which are not actually located with the collection (use first indicator "0" to get display constant of "Finding aids:"; first indictor "8" to suppress display constant).

For information about finding aids available electronically, see electronic location and access field (856 field, see 6G).

If applicable, provide information abut the relationship between the item described in the record and a larger unit to which it belongs. This field is used in conjunction with host item entry (773 field, see 6E for further description and examples).

Provide information about processing, reference, and preservation actions relating to an item or a collection. For those using the field to record preservation activities, a Standard Terminology for USMARC Field 583 list is available. Use of this field is contingent on the capabilities of your cataloging system.

Fields 590-599 are reserved for local use and local definition. These fields may contain copy specific and/or holdings information.

The Dance Heritage Coalition advocates that catalog records provide access to individual choreographic works and to the subject content of the choreographic works and other materials cataloged or described in catalog records. Therefore, be as generous with subject and other added entries as is practical, taking into consideration the relative importance of the work and the constraints of both the national utilities and the system on which you are cataloging. Remember that all access points must be justified within the body of your catalog record.

In the current machine environment the choice of main entry becomes less significant and a great deal of energy and time in determining the choice of main entry in unnecessary. Insuring that access points are provided to all responsible parties is the more significant task. The main entry does however convey the material to the user in a particular way and the value of this portrayal should not be underestimated. Use AACR2 Chapter 21 for further guidance on choice of access points.

Works of single authorship [21.4A] (single artist/designer or photographer named)

Enter graphic material executed by one artist/designer or photographer under the heading for that person.

Example: 100 1- |a Zinkeisen, Doris.

245 00 |a Planetomania :|b costume and set designs […] / |c Doris Zinkeisen.

Enter graphic material executed by an organization or a group of persons that is identified by a particular name under the heading for that corporate body.

Example: 110 2- |a Tunbridge Sedgwick London.

245 00 |a Twelfth night, performed by the International Ballet :|b a group of photographs /|c by Tunbridge Sedgwick.

6A3. Entry under title [21.1C] (see 1B above)

If a work is of unknown or uncertain personal authorship, enter under title.

If a group of graphic materials or an assembled collection is the work of two or more artists/designers/photographers or studios, enter under title. Make added entries under the names of all known persons or studios. Devise a collective title according to rules above (1B).

Provide personal name (600), corporate name (610), uniform title (630), topical (650), geographic (651) subject added entries, and genre/form (655) index terms, as appropriate, to indicate the content of the work(s) being cataloged. All such entries are under authority control: use only Name Authority File (NAF) headings for fields 600-630, Library of Congress Subject Headings (LCSH) for fields 650 and 651, and Descriptive Terms for Graphic Materials: Genre and Physical Characteristics Headings (LCTGM) for field 655.

[IS LCTGM the correct citation - check full title ]

When feasible, the use of subdivisions is encouraged in order to improve subject access and facilitate retrieval of items. Specificity can be achieved with the use of general topical or form subject subdivisions (subfield x), chronological subdivisions (subfield y), and geographic subdivisions (subfield z).

In the examples that follow, all the possible subject and name headings have not been listed, only the ones that illustrate the field being discussed. For full sample records, see the section at the end of the guidelines.

Provide subject added entries for dancers for whom costumes were designed or were subjects of photographs (600 field) and for dance companies that commissioned the designs or photographs (610 field).

[Are there more categories to be added here?]

Example: 100 1- |a Daniels, Fred.

245 00 |a Giselle, performed by the International Ballet production /|c photographed by Fred Daniels […]

511 0- |a Dancers: Michel de Lûtry, Mona Inglesby, Domini Callaghan, Joyce Gearing.

600 20 |a Paschould de Lûtry, Michel,|d1923-

600 10 |a Inglesby, Mona,|d1918-

600 10 |a Callaghan, Domini.

600 10 |a Gearing, Joyce.

610 20 |a International Ballet.

Make a uniform title subject added entry for any choreographic work described in the record. Many uniform title headings for choreographic works are established in NAF (for guidelines in establishing authorized uniform title headings see LCRI ???? for Uniform Titles for Choreographic Works in Appendix).

Example: 100 1- |a Daniels, Fred.

245 00 |a Giselle, performed by the International Ballet /|c photographed by Fred Daniels […]

630 00 |a Giselle (Choreographic work : Sergeev after Coralli)

Topical subject added entries may consist of general subject terms including names of events or objects with subdivisions which provide further specificity. When using LCSH, make sure to verify headings through the LC online system, available over the Internet; do not rely on the LCSH "red books". This is particularly necessary with dance-related subject headings, which were recently changed across the board. The term "Dancing" from the red books, for example, was revised to "Dance".

Examples: 100 1- |a Daniels, Fred.

245 00 |a Giselle :|b photographs of International Ballet production /|c photographs by Fred Daniels […]

650 -0 |a Ballet |z England |y 20th century.

100 1- |a Reinhardt, Max, |d 1873-1943.|e collector.

245 00 |a Collection of Viennese costume designs […]

650 -0 |a Ballet |x Costume.

650 -0 |a Costume design.

650 -0 |a Theater |z Austria.

Use geographic name subject added entries to provide access to countries or areas represented in the material being cataloged.

This field contains terms indicating the genre, form, and/or physical characteristics of the materials being described. In the context of graphic materials, genre headings denote categories of material distinguished by vantage point, intended purpose, characteristics of the creator, publication status, or method of representation. Form and physical characteristic terms designate historically and functionally specific kinds of materials as distinguished by an examination of their physical character, subject of their intellectual content, or the order of information within them. Standard published lists give the terms that are used in this field; the specific list used is identified by a code in subfield 2.

Example: 100 1- |a Daniels, Fred.

245 00 |aGiselle :|b photographs of International Ballet production /|c photographed by Fred Daniels […]

655 -7 |a Photographic prints.|2 gmgpc

655 -7 |a Portraits.|2 gmgpc

Although 690 fields may be used for local subject headings, DHC participants should submit subject heading proposals for those headings not available in LCSH, and thus increase future dance access through subject terminology, rather than opt for a local heading that will drop out of the record when placed in the national bibliographic utilities. (See authority section of DHC Cataloging Guidelines for guidance.)

Provide added entries for persons and corporate bodies having some significant form of responsibility for creation of the work(s) being cataloged, including those listed in statements of responsibility in fields 245 subfield c, 505, 508, and 511. Use only controlled headings as found in the NAF. Indicate individuals with direct responsibility for the conception of the choreographic work: the choreographer, composer, librettist, author on whose work the piece is based.

The number of name added entries given a specific item will depend on the relative importance of those persons and/or corporate bodies to the work(s) and the size limitations placed on the record by the national utilities and local practice.

Use relator terms in subfield e to describe the role(s) of the person or corporate body in relationship to the work. If the same person or body fulfills multiple roles, assign multiple subfield e's (e.g. if the choreographer also appears in a performing role). Use the relator terms given in the USMARC Code List for Relators, Sources, Description Conventions (LC, 1993), and the additions to the list made by DHC participants (see relator list in Appendix).

Example: 100 1- |a Melvin, Duncan.

245 03 |aLa carnaval :|bphotograph of Algeranoff as Pierrot in International Ballet production /|c photographed by Duncan Melvin.

508 -- |a Choreographer, Michel Fokine; restaged by Madame Evina; composer, Robert Schumann; costumes and decor after Léon Bakst.

700 1- |a Fokine, Michel, |d 1880-1942,|e choreographer. 700 1- |a Evina, |cMadame, |e choreographer.

700 1- |a Schumann, Robert, |d 1810-1856, |e composer.

700 1- |a Bakst, Léon, |e designer.

[no added entry for Bakst in record from Harvard - should he be a 700?]

Title added entries may be uniform titles for choreographic works or uncontrolled titles for other forms of title access.

Provide uniform title added entries for choreographic works For information about authorized form of uniform title headings, see field 630 (6B2).

Record uncontrolled (not under authority control) related or analytical titles for items to which you wish to provide access, such as uncontrolled titles for works contained in the item being cataloged. Variant forms of the title of the item being cataloged are entered in field 246 (see 1H). Uniform titles which are under authority control are entered in field 730 (see 6C1). Initial articles are not recorded in field 740 unless the intent is to sort on the article.

This field contains information concerning the host item for the component part described in the record. The field is provided to enable the user to locate the record that contains the component part being described. Since the information in this field is coded, the relationship between the host item and the component part may be described in the linking entry complexity note (580 field, see 5B21).

Optionally, use this field to give information required to locate material being cataloged. The information may identify the organization holding the material or the source from which it is available.

Examples: 852 -- |b Archives, |a Getty Center for the History of Art, |e 401 Wiltshire Blvd., Suite 400, Santa Monica, CA 90401.

852 -- |b Harvard Theatre Collection, |a Harvard College Library, |e Cambridge, MA 02138.

This field contains the information required to locate an electronic resource, such as a finding aid available electronically. The data in field 856 may be a Uniform Resource Locator (URL) which is recorded in subfield "u" or it may parse the necessary locator information into separate defined subfields. (Guidelines for the use of field 856 have been prepared by the Network Development and MARC Standards Office of the Library of Congress.)