Guide to the Edin Vâelez Papers and videos, 1970-1994
Processed by Special Collections staff.
Department of Special Collections
Green Library
Stanford University Libraries
Stanford, CA 94305-6004
Phone: (650) 725-1022
Email: specialcollections@stanford.edu
URL: http://library.stanford.edu/spc
© 2002
The Board of Trustees of Stanford University. All rights reserved.
Guide to the Edin Vâelez Papers and videos, 1970-1994
Collection number: M0933
Department of Special Collections and University Archives
Stanford University Libraries
Stanford, California
Contact Information
- Department of Special Collections
- Green Library
- Stanford University Libraries
- Stanford, CA 94305-6004
- Phone: (650) 725-1022
- Email: specialcollections@stanford.edu
- URL: http://library.stanford.edu/spc
- Processed by:
- Special Collections staff
- Date Completed:
- 1999, Feb.
- Encoded by:
- Michael G. Olson
© 2002 The Board of Trustees of Stanford University. All rights reserved.
Descriptive Summary
Title: Edin Vâelez Papers and videos,
Date (inclusive): 1970-1994
Collection number: M0933
Creator:
Vâelez, Edin
Extent:
6 linear ft.
Repository:
Stanford University. Libraries. Dept. of Special Collections and University Archives.
Abstract: A pioneer in video art, Vâelez, together with Gary Hill and Bill
Viola, was at the forefront of the generation that established video as an
art form in the 1970s.
Language:
English.
Administrative Information
Access
The Media materials require at least two weeks advance notice to use in order to allow staff time to have use copies made
from the original items.
Publication Rights
Property rights reside with the repository. Literary rights
reside with the creators of the documents or their heirs. To
obtain permission to publish or reproduce, please contact the
Public Services Librarian of the Dept. of Special Collections.
Preferred Citation
Edin Vâelez Papers and videos. M0933. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif.
Acquisition Information
Purchased, 1997.
Provenance
Purchased, 1997.
Biography
Educated at the University of Puerto Rico, where he
was influenced by Marshal McLuhan, Vâelez subsequently moved to New York
where he studied at Global Village. Vâelez has been credited with the
development of "a new transequential language of representation," in which
multiple scenes are superimposed and juxtaposed within the frame. In this
respect, Vâelez's production notes on his video pieces provide a unique
and invaluable resource on how he was able to make these advances using
analog formats -- nearly a decade before digital formats made layered
imagery a standard practice in video production. In his numerous videos,
Vâelez has explored other cultures -- from the Cuna Indians of Panama to
the Butoh dancers of Japan -- using his unique video aesthetic and
language to explore intercultural dialogue and self-reflexive ethnography.
Above all, Vâelez's videos attest to the impossibility of a one-to-one
translation across cultural boundaries. (Extracted from notes by Chon
Noriega, Dept. of Film and Television, UCLA)
Collection Scope and Content Summary
Correspondence, scripts, business papers, original artwork, and
production stills related to videos. Twenty completed video works, nearly
half of which are out of distribution, 51 hours of video documentation
including "Behind the Scenes," a 19-hour documentary of the production
process for two key works: A MOSQUE IN TIME and MEMORY OF FIRE, and a
32-hour documentary of Japanese Butoh dance, and last, video copies of
television interviews with Vâelez for Spanish, Argentinian, and Japanese
television.
Access Terms
The following terms have been used to index the description of this collection in the library's online public access catalog.
Butåo.
Cuna Indians.
Modern dance--Japan.
Video art.
Video recordings.
Box 1
1. Notebook 1987-881987-1988
Scope and Content Note
30 pages 4 handwritten ideas, notes, many sketches of installations, objects,books storyboards for tapes never shot, original
notes for "Memory of Fire" (not named as such), notes on art, ect.
Box 1
2. Meaning of the Interval" edit notes, file 2, 19861986
Physical Description: 96 manuscript sheets,4 photo contact sheets
Scope and Content Note
Sketches and br storyboards explore how to combine different scenes in one frame. Most of the sketches are done in colored
marker, the given color used as a code for the type of scene (i.e.:religious, modern,traditional, etc.) includes hand drawn
stencils for Japanese words used as key elements, and hand drawn wipe templates. Very complete documentation of the editing
process of one of the first videos made using multiple simultaneous layers of images in collage fashion. most pages are dated
so one can follow the process of layering. Also, 4 photographic contact sheets that have every major scene used in the editing.
This method of visually storing the key frame of every scene will be used by Ev to keep a record of very scenee in every tape
from this point on.
Box 1
3. Color photocollage for Meaning of the Interval postcard made in the style of the video, 19871987
Box 1
4. "Meaning of the Interval" edit notes, file 1, 1985-86
Physical Description: 34 manuscript sheets see number 2 above for description
Box 1
5. "Dance of Darkness" edit notes, spiral bound notebook, 1988
Physical Description: 36 pages
Scope and Content Note
Mostly manuscript, a few typescrpit logs with detailed annotations at margins. Many sketches and storyboards for multi-layering
edit. many pages but not all dated.
Box 1
6. Two architectural renderings of 3 channel video installation: "Naruhodo"
Physical Description: Drawings are originals (1987?) pencil on vellum, 11" by 16" -Also, four high qualty xeroxes (originals lost) of sketches leading
up to final drawings 11" by 16" Installation not yet completed.
Box 1
7. Eight pages, manuscript on grid paper, color coded for final audio mix: Dance of Darkness.
Scope and Content Note
Shows every audio layer of final tape individually, 7 audio tracks with descriptions.
Box 1
8. Dance of Darkness, edit notes file, 38 pages 1988-89
Scope and Content Note
Includes all translations,transcripts, annotatde. Original ink Drawings for title card in English and French.
Box 1
9. "The Date" 1988
Physical Description: 11 pages,62 cards 2 by 4 with scene descriptions (and written) Handwritten diagrams delineating a multi layered narrative.
Precursor to Hypertext, and CD rom.Dot matrix sceond version included which has changes.project not completed
Box 1
10. Guatemala Video Logs, 1988
Physical Description: 29 pages video logs with notations,one manuscript page with sketches/storyboards
Scope and Content Note
For a edit of footage shot in Guatemala while making Meta Mayan to be used in a new video. Video logs are pages that have
12 images from original footage. original scenes printed from video using video printer then fitted on one page and xeroxed.-project
not completed. NOTE: whenever I use the term "video log" it refers to these visual, not text, pages. Each page has color
coded markings as to how certain parts of images would be used in layers with others.
Box 1
11. Signal to Noise: video logs with notations
Physical Description: 14 pages 1989,10 original thermal video printouts.
Scope and Content Note
For not completed autobiographical video.
Box 1
12. Memory of Fire: 6 Scripts 1990,92,93
Physical Description: (79 pages)
Scope and Content Note
original treatment submitted for funding to ITVS in 1990 subsequent scripts each with amjor changes 1992 through 1993 shows
evolution of film very clearly
Box 1
13. Memory of Fire: Fax correspondence between EV and producers of film 93-94
Physical Description: 24 sheets including original faxes received from producers.
Scope and Content Note
This correspondence was 2/3 during production when relationship between EV and producers deteriorated and communication was
solely via fax. A number of major issues and problems are discussed.
Box 1
14. Memory of Fire:
Scope and Content Note
5 manuscript sheets early multi layer storynoards for film, never realised, as well as illustrated character descriptions,
and flying boat sketch, never realised.
Box 1
15. Memory of Fire
Scope and Content Note
9 sheets,set design EV in colab. with designer Mark Stieger 1 by 16 xeroxes, ,with handwritten notations by EV (originals
lost) for sets, never realised.
Box 1
16. Memory of Fire
Physical Description: 9 sheets, character and costume designs EV in colab. with designer Mark Stieger, 8 by 11 xeroxes ( orig. lost) with EV notations.
never realised.
Box 1
17. Memory of Fire
Physical Description: 9 sheets, Art Dir. plans for actual sets, 11 by 16 xeroxes, orig lost, no notations
Box 1
18. Memory of Fire
Physical Description: 14 sheets, 8 by 11 xeroxes of images used as references in original script, copies of engravings and paintings. Notations
as to scene no. etc.
Box 1
19. Memory of Fire
Scope and Content Note
Scene breakdown script, no notes, 1993 14 pages Lists actors,action, set, props ,etc for every scene in script
Box 1
20. Memory of Fire
Scope and Content Note
Editing notes file, 10 handwritten sheets with notes ,sketches and storyboards; Scribe scene completely annotated script section(3
sheets). Court of the Queen script section (3 sheets) annotated. 5 foot by 2 foot handwritten chart on grid paper showing
all music and audio and track assigned (8 audio tracks),color coded and notated.
Box 1
21. A Mosque in Time: Edit file: 1990
Physical Description: 14 handwritten pages with multi layer sketches, and edit notes. 11 pages of video logs with notation
Box 1
22. Fura dels Baus: correspondence
Scope and Content Note
3 letters to and from the Spanish performance group La Fura Dels Baus about collaborating on a video on Columbus, 1991, as
well as literature on the group
Box 1
23. Revelaciones
Scope and Content Note
Edit notes (7 handwritten pages). video logs with notations 32 pages 1994
Box 1
24. Dance of Darkness
Scope and Content Note
Interview transcripts with all dancers, 82 pages
Box 1
25. Dance of Darkness
Scope and Content Note
Final selects video logs with notations, and some color coding 43 sheets,2 handwritten note sheets.
Series 2. Videotapes
Physical Description: 56 one hour U-Matic Videocassettes.
Access Information
The Media materials require at least two weeks advance notice to use in order to allow staff time to have use copies made
from the original items.
Box 2, Videotape 1
Kazuo Ohno interview, Pt 2
Box 2, Videotape 2
Dairakudakan, port perf. no audio
Box 2, Videotape 3
Ohno, Dead Sea Performance, pt 1
Box 2, Videotape 3
Ohno, Dead Sea Performance, Pt 2
Box 2, Videotape 3
Ohno, Dead Sea Performance, pt 4
Box 2, Videotape 4
Ohno, Siren Performace, pt 2
Box 2, Videotape 4
Ohno. Mother perf., part 1
Box 2, Videotape 4
Ohno, Mother perf., part 2
Box 2, Videotape 5
Ohno, rehearsal at home pt 1
Box 2, Videotape 5
Ohno, rehearsal at home pt 2
Box 2, Videotape 6
Ohno, rehearsalat home Pt 3
Box 2, Videotape 6
Ohno, rehearsal at home Pt 4
Box 3, Videotape 7
Ohno, La Argentina Perf. Pt. 1
Box 3, Videotape 7
Ohno, La Argentina Perf. Pt 2
Box 3, Videotape 7
Ohno, La Argentina Perf. Pt 3
Box 3, Videotape 9
Ohno, Mother makeup, Argentina reh.
Box 3, Videotape 9
Ohno , La Argentina makeup
Box 3, Videotape 9
Ohno, Dead Sea reh. Pt 1, La Argentina reh.
Box 3, Videotape 10
Ohno, La Argentina reh. 2
Box 3, Videotape 11
Dai Rakuda Kan perf. Durham N.C.
Box 3, Videotape 11
Dai Rakuda Kan , perf Tokyo 1984
Box 3, Videotape 11
Dai Rakuda Kan , perf Tokyo 1984
Box 3, Videotape 12
Dai Rakuda Kan , perf Tokyo 1984
Box 3, Videotape 12
Dai Rakuda Kan , perf Tokyo 1984 women's group
Box 3, Videotape 12
Dai Rakuda Kan , perf Tokyo 1984 women's group
Box 4, Videotape 13
Dai Rakuda Kan , perf Tokyo 1984
Box 4, Videotape 13
Dai Rakuda Kan , perf Tokyo 1984
Box 4, Videotape 13
Dai Rakuda Kan , perf Tokyo 1984
Box 4, Videotape 14
Dai Rakuda Kan , perf Tokyo 1984
Box 4, Videotape 14
Dai Rakuda Kan , perf Tokyo 1984 women's group
Box 4, Videotape 14
Dai Rakuda Kan , perf Tokyo 1984 women's group
Box 4, Videotape 15
Hljikata, Rebellion of the Body, archival film 1968
Box 4, Videotape 16
Dai Rakuda Kan , perf Tokyo 1984 women's group
Box 4, Videotape 16
Dai Rakuda Kan , perf Tokyo 1984 women's group, no audio
Box 4, Videotape 16
Dai Rakuda Kan , perf Tokyo 1984 women's group, audio starts halfway
Box 4, Videotape 17
Dai Rakuda Kan, Port perf. no audio
Box 4, Videotape 18
Ohno, Dead Sea perf. Pt 1
Box 4, Videotape 18
Ohno, Dead Sea perf. pt 2
Box 4, Videotape 18
Ohno, Dead Sea perf. Pt 3
Box 4, Videotape 18
Dai Rakuda Kan, Port perf.
Box 5, Videotape 19
Dai Rakuda Kan, Temple Steps perf.
Box 5, Videotape 19
Dai Rakuda Kan, temple steps cutaways
Box 5, Videotape 20
Dai Rakuda Kan, Shinjuku perf.
Box 5, Videotape 20
Dai Rakuda Kan, Shinjuku perf.
Box 5, Videotape 21
Dai Rakuda Kan workshop, NYC
Box 5, Videotape 22
Dai Rakuda Kan, Durham, N.C. perf pt 1
Box 5, Videotape 22
Dai Rakuda Kan, Durham, N.C. perf Pt 3
Box 5, Videotape 23
Dai Rakuda Kan, Durham, N.C. perf pt 4
Box 5, Videotape 23
Dai Rakuda Kan, Durham, N.C. perf Pt 5, Charles Reinhardt interv.
Box 5, Videotape 23
Dai Rakuda Kan, Durham, N.C. perf Pt 6
Box 5, Videotape 24
Dai Rakuda Kan, Durham, N.C. perf Pt 7
Box 5, Videotape 24
Dai Rakuda Kan, Durham, N.C. perf Pt 8
Box 5, Videotape 24
Dai Rakuda Kan, Durham, N.C. perf Pt 9
Box 6, Videotape 25
Byakko Sha, Kyoto Mountain perf. Pt 1
Box 6, Videotape 25
Byakko Sha, Kyoto Mountain perf. pt 2
Box 6, Videotape 25
Byakko Sha, Kyoto Mountain perf. Pt 3
Box 6, Videotape 26
Akiko Motofuji at Hijikata's Tomb
Box 6, Videotape 26
Akiko Motofuji at Hijikata's Tomb steps, Hijikata period posters
Box 6, Videotape 28
Isamu Ohsuga, interv. Pt 2
Box 6, Videotape 29
Oblique Strategist, Long version (PBS) 28:00
Scope and Content Note
This videotape has not been distributed.
Box 6, Videotape 29
Meta Mayan II, Long version, with Holy Week 1993 re edit
Scope and Content Note
This videotape has not been distributed.
Box 6, Videotape 30
As Is; (1984) revised 1985
Box 6, Videotape 30
First edited video made by Vélez in 1970, very poor technical quality, B/W
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 30
On the Road to Atitlan (1977) very poor tech quality, B/W
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 31
Meta Mayan 11,20 mm. version 1981
Box 7, Videotape 31
Tale, The Cuna Indians of San Bias, first version 1977
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 32
AMosqueinTime(1990)8:00 1990
Box 7, Videotape 32
Memory of Fire (1994) 23:00 shorter version than PBS one, currently in distnb.
Box 7, Videotape 33
Dance of Darkness( 1989) 56:00
Box 7, Videotape 34
Sanctus, 10:00 mm
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 34
Phaedra (Ellen) 1974 2:30
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 34
Rainbow 1974 5:00
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 34
Andes, 3min
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 34
Pyramid 7 min
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 34
Gemini 3:00 min
Scope and Content Note
This videotape has not been distributed.
Box 7, Videotape 34
Edin Vélez, self interview for Spanish TV
Box 7, Videotape 35
NHK TV program, includes a 15 min segment on Vélez
Box 7, Videotape 35
ArteSano del Siglo XX, arts prog Argentina, mostly about
Box 7, Videotape 36
Making "A Mosque in Time" production documentation
Box 8, Videotape 37
Making" Memory of Fire" production documentation
Box 8, Videotape 38
Making" Memory of Fire" production documentation
Box 8, Videotape 39
Making" Memory of Fire" production documentation
Box 8, Videotape 40
Making" Memory of Fire" production documentation
Box 8, Videotape 41
Making" Memory of Fire" production documentation
Box 8, Videotape 42
Maldng" Memory of Fire" production documentation
Box 9, Videotape 43
Making" Memory of Fire" production documentation
Box 9, Videotape 44
Making" Memory of Fire" production documentation
Box 9, Videotape 45
Making" Memory of Fire" production documentation
Box 9, Videotape 46
Making "A Mosque in Time" production documentation
Box 9, Videotape 47
Making "A Mosque in Time" production documentation
Box 9, Videotape 48
Making "A Mosque in Time" production documentation
Box 10, Videotape 49
Making "A Mosque in Time" production documentation
Box 10, Videotape 50
Making "A Mosque in Time" production documentation
Box 10, Videotape 51
Making "A Mosque in Time" production documentation
Box 10, Videotape 51
Butoh Videotapes, camera original dubs, part 2
Box 10, Videotape 52
Byakko Sha, Kyoto Mountain perf. Pt 5
Box 10, Videotape 52
Byakko Sha, Kyoto Mountain perf. p 6, Ohsuga int
Box 10, Videotape 53
Ohno Perf Ikeda Museum, Yoshito Ohno interv
Box 10, Videotape 53
Butoh slow motions, test layerings for final edit
Box 10, Videotape 54
Hakutobo reh., Yoko Ashikawa, interv.
Box 10, Videotape 54
Takai Nakamura perform. Pt I
Box 10, Videotape 54
Takai Nakamura perform. Pt 2
Box 11, Videotape 55
Ohno perf,, Ashikawa Archival perf.
Box 11, Videotape 55
Kaze No Kishki, Hijikata archival
Box 11, Videotape 55
Ohno very early performance films (1960's)
Box 11, Videotape 56
Mother Mallard's Portable Masrepiece company (1976) 30 min
Scope and Content Note
This videotape has not been distributed.
Box 11, Videotape 56
Merian, 1975
Scope and Content Note
This videotape has not been distributed.
Series 3. Fotos
Physical Description: Fotos are all 8 * 10" unless otherwise specified, all fotos are very high quality.
Box 11, Folder 1
1.MetaMayan
Physical Description: B/w: 4 production stills
Box 11, Folder 1
2.Tule
Physical Description: B/W: 2 portraits of Cuna women who are in the video Color2 portraits of Cuna women who are in the video
Box 11, Folder 2
3. Oblique Strategist ( Brian Eno Portrait)
Physical Description: B/W; 4 production still with brian Eno
Box 11, Folder 3
4. As Is
Physical Description: B/W: 1 hiqh quality Monitor still
Box 11, Folder 3
5. Unique artists books ( handmade pop ups)
Physical Description: B/W:3 photos of book pages
Box 11, Folder 4
6. Mosque In Time
Physical Description: B/W: 1 production still