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A History of African American Theatre Errol G
Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre This is the first definitive history of African American theatre. The text embraces awidegeographyinvestigating companies from coast to coast as well as the anglo- phoneCaribbean and African American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles – from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and ahalf centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals, and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are produc- tions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, are conveyed in this volume. errol g. hill was Professor Emeritus at Dartmouth College, Hanover, New Hampshire before his death in September 2003.Hetaughtat the University of the West Indies and Ibadan University, Nigeria, before taking up a post at Dartmouth in 1968.His publications include The Trinidad Carnival (1972), The Theatre of Black Americans (1980), Shakespeare in Sable (1984), The Jamaican Stage, 1655–1900 (1992), and The Cambridge Guide to African and Caribbean Theatre (with Martin Banham and George Woodyard, 1994); and he was contributing editor of several collections of Caribbean plays. -
Btn 33 Program Print Copy
BLACK THEATRE: UNAPOLOGETICALLY BLACK Black Theatre Network | 33rd Annual Conference | Winston-Salem, NC Welcome to #BTN33 at our bi-annual home at the A quick guide to Brookstown Inn in Winston-Salem, NC! We’re thrilled to studentquest(SQ) have you with us for an unapologetically inspirational, spirited, programming: feisty, fun, and BLACK Theatre Network conference! StudentQuest is a series of classes, activities, and career- building sessions particularly selected for the students attending BTN conferences. They provide the opportunity for BTN members to invest in the future of Black Theatre through discussions, sharings, and new skills. Student participants are encouraged to BTN Executive Board Members attend these sessions as well as to participate in any of the other BTN’s MEETING SPACES AT THE BROOKSTOWN: sessions that interest or inspire them. Likewise, these sessions are open to all Marvin Sims conference participants. Hospitality Charles Weldon Ballroom Suite StudentQuest sessions are all (when rooms are combined) indicated within the pages of Felix Cochren Shirley Prendergast Paul Jackson Meeting Room this program with (SQ) next to Meeting Room Meeting Room the session’s title. Brookstown inn address: please use this address for all deliveries, Camille Billops ntozake shange Lobby ride services, etc. Board Room 200 Brookstown Ave Winston-Salem, NC 27101 Phone: (336) 725-1120 John House Courtyard Unapologetically black Table of Contents 4-5 Messages from the President and Vice President Andre Harrington, BTN President, and Chris Berry, BTN Vice President, share their thoughts about Unapologetically Back Theatre. 6-7 BTN’s Mission, Purpose, & History Historical facts & details, including BTN Executive Board Members, previous conference sites, and a retelling of the BTN origin story as curated by Past Presidents Dr. -
CAMILLE BILLOPS B. 1933 Los Angeles, CA D. 2019 New York, NY
CAMILLE BILLOPS b. 1933 Los Angeles, CA d. 2019 New York, NY Education 1973 MFA, City College of New York 1960 BA, California State College Solo Exhibitions 2016 Still Raising Hell: The Art, Activism, and Archives of Camille Billops and James V. Hatch, Atlanta, GA 2012 Camille Billops: Prints & Posters, Leeway Foundation, Philadelphia, PA 2011 Films by Camille Billops, Hammer Museum at the University of California at Los Angeles 1997 Inside the Minstrel Mask, Noel Fine Art Acquisitions, Charlotte, North Carolina 1993 University of North Carolina at Charlotte 1990 Clark College, Atlanta University 1986 Calkins Gallery, Hofstra University, Hempsted, N.Y. Gallery at Quaker Corner, Plainfield, NJ 1984 Southeast Arkansas Arts & Science Center, Pine, Bluff 1993 University of North Carolina at Charlotte 1990 Clark College, Atlanta University 1986 Calkins Gallery, Hofstra University, Hempstead, N.Y. Gallery at Quaker Corner, Plainfield, NJ 1984 Southeast Arkansas Arts & Science Center, Pine, Bluff 1983 Pescadores Hsien Library, Making, Taiwan Chau Yea Gallery, Kaohsiung, Taiwan American Cultural Center, Taipei, Taiwan American Center, Karachi, Pakistan Otto Rene Castillo Center, New York 1981 The Bronx Museum of Art, Bronx, NY 1980 Harlem Book of the Dead Performance Piece, Buchhandlung Welt, Hamburg, West Germany 1977 Faculty Exhibition, Rutgers University, Newark, NJ 1976 Foto-Falle Gallery, Hamburg, West Germany 1974 Winston Salem North Carolina State University 1973 Ornette Coleman’s Artist House, SOHO, New York 1965 Galerie Akhenaton, Cairo, -
Digital Review Copy May Not Be Copied Or Reproduced Without Permission from the Museum of Contemporary Art Chicago
DIGITAL REVIEW COPY MAY NOT BE COPIED OR REPRODUCED WITHOUT PERMISSION FROM THE MUSEUM OF CONTEMPORARY ART CHICAGO. HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Published by the Museum of Contemporary Art Chicago and DelMonico Books•Prestel NAOMI BECKWITH is Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago. VALERIE CASSEL OLIVER is Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. ON THE JACKET Front: Untitled #4D (detail), 2009. Mixed media on paper collage; 7 × 10 in. Back: Timothy Greenfield-Sanders, Howardena Pindell from the series Art World, 1980. Gelatin silver print, edition 2/2; 13 3/4 × 10 3/8 in. The Museum of Fine Arts, Houston, Gift of Mr. and Mrs. Neil E. Kelley, 2006.867. © Timothy Greenfield-Sanders, All Rights Reserved. Courtesy of Hiram Butler Gallery. Printed in China HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Edited by Naomi Beckwith and Valerie Cassel Oliver Museum of Contemporary Art Chicago DelMonico Books • Prestel Munich London New York CONTENTS 15 DIRECTOR’S FOREWORD Madeleine Grynsztejn 17 ACKNOWLEDGMENTS Naomi Beckwith Valerie Cassel Oliver 21 OPENING THOUGHTS Naomi Beckwith Valerie Cassel Oliver 31 CLEARLY SEEN: A CHRONOLOGY Sarah Cowan 53 SYNTHESIS AND INTEGRATION IN THE WORK Lowery Stokes Sims OF HOWARDENA PINDELL, 1972–1992: A (RE) CONSIDERATION 87 BODY OPTICS, OR HOWARDENA PINDELL’S Naomi Beckwith WAYS OF SEEING 109 THE TAO OF ABSTRACTION: Valerie Cassel Oliver PINDELL’S MEDITATIONS ON DRAWING 137 HOWARDENA PINDELL: Charles -
The SRRT Newsletter
Digital image fromDigital image October 2020 Issue 212 Shutterstock . The SRRT Newsletter Libraries and Voting During COVID-19 Dear The SRRT NewsletterReaders, I hope the best for your health and your work as we continue with the challenge of COVID-19. In this issue, we have taken a closer look at what libraries are doing to support voting in their communities. The role of libraries in helping people register and vote can be a critical one, especially in states that have so many barriers to voting, such as requiring a witness to sign a mail-in ballot (e.g., Wis- Inside this issue consin), requiring a copy of an acceptable ID to be included with a mail-in ballot (e.g., Alabama) or not allowing ballot drop boxes (e.g., Tennessee). We encour- From the Coordinator-Elect.........2 age libraries to provide as much information as possible for local voters, so they know where and how to register and vote and what they need to do that. There are some excellent websites that Call for SRRT Elected Offices ........3 provide specific information about local voting and registrations, such asVote.org. VoteRiders helps Voices From the Past ...................3 people actually obtain the ID they need. GODORT has put together a Voting and Election toolkit. HHPTF has also put together a template that can be used to guide libraries in providing relevant and So All Can Attend .........................4 timely accurate voting and registration information for each community. The document also pro- FTF News .....................................5 vides a short annotated list of recommended websites. -
Dinner Focuses on Leadership Blue Devils Conquer Streaking Cavaliers
Duke blows past Greensboro The baseball team rallied for a 8-7 victory over Greensboro College THE CHRONICLE Wednesday. See Sports, p. 13. THURSDAY. FEBRUARY 15. 1996 = ONE COPY FREE DUKE UNIVERSIT DURHAM. NORTH CAROLINA CIRCULATION: 15.000 VOL. 91, NO. 96 Blue Devils conquer streaking Cavaliers By WILLIAM DVORANCHIK It was a game that both In a surprise change of teams desperately needed to venues, WrestleMania held its win, but neither team wanted feature event in Cameron In to take. The matchup kept door Stadium Wednesday both teams mired in the mid night. dle of the ACC pack with iden In other sporting news, the tical 5-7 conference records. Duke and Virginia men's bas Duke's NCAA chances received ketball teams were able to a boost with the win, as the squeeze in an important At Blue Devils improved to 14-10 lantic Coast Conference con overall, while Virginia's hopes test between bouts. In a game dimmed even more as the team that featured 54 personal dropped to 11-11 on the season. fouls—33 in the second half- Duke came out flat from the Duke outlasted Virginia for a opening tip, scoring only 10 79-69 victory. points in the first 13:28 of play JOHN BURK/THE CHRONICLE "Everybody was getting and shooting only 30.8 percent 9 banged around a little bit," from the floor in the first half. 'I think I can, I think I can, I think... I'm in trouble sophomore Steve Wojciechows Despite a 12-point halftime ki said. -
Camille Billops, Who Filmed Her Mother‑ Daughter Struggle, Dies at 85
Camille Billops, Who Filmed Her Mother‑ Daughter Struggle, Dies at 85 By Katharine Q. Seelye June 9, 2019 Camille Billops knew from a young age that she did not want to be a mother. And when she had a baby, she gave her up for adoption, when the girl was 4. Ms. Billops would go on to become an internationally recognized sculptor, painter and filmmaker. She held salons and created extensive archives of black cultural life in New York over several decades. But Ms. Billops, who died on June 1 at 85, gained the most attention for a movie she made about giving up her daughter. She was resolutely unapologetic about the decision, even as society judged her harshly and wanted her to repent. The movie, “Finding Christa” (1992), which she directed with her husband, James V. Hatch, documented Ms. Billops’s rejection of her daughter and their reunion 20 years later. Christa Victoria, a vibrant and artistic young woman who was raised by a loving adoptive family in Oakland, Calif., was welcomed back into the Billops fold. The 55‑minute film won the 1992 Grand Jury Prize in the documentary category at the Sundance Film Festival and left the viewer thinking all was well that ended well. But that was not the end. Off camera, the mother and daughter, who shared a diva streak, had a fraught relationship, entangled in guilt and fueled by competitiveness: Ms. Billops told Topic magazine that Christa was trying to take credit for the movie, and at the same, Christa still ached to understand why her mother had given her away. -
James V. Hatch and Camille Billops Papers, 1954-2011
HATCH, JAMES VERNON, 1928- James V. Hatch and Camille Billops papers, 1954-2011 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Hatch, James Vernon, 1928- Title: James V. Hatch and Camille Billops papers, 1954-2011 Call Number: Manuscript Collection No. 1226 Extent: 15.75 linear feet (30 boxes), 1 oversized papers box and 4 oversized papers folders (OP), AV Masters: 1.5 linear feet (2 boxes), and 1.34 MB born digital material (32 files)(.25 linear feet, 1 box) Abstract: Personal personal of James V. Hatch and Camille Billops and records of their work relating to the curation of the Hatch-Billops Collection and the publication of Artist and Influence. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Please note that some of the items in this collection are copies of materials held in other archival repositories. The Library will not provide researchers with copies of those items. Researchers wishing to obtain copies of these materials should contact the repository that owns the originals. Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in This Repository Camille Billops and James V. Hatch Archives at Emory University and Owen Dodson papers Source Gift from Camille Billops and James V. -
We Wanted a Revolution: Black Radical Women, 1965–85 This
We Wanted a Revolution: Black Radical Women, 1965–85 This exhibition presents the work of more than forty artists and activists who built their careers—and committed themselves to political change—during a time of social tumult in the United States. Beginning in the 1960s, a number of movements to combat social injustice emerged, with the Black Power, Civil Rights, and Women’s Movements chief among them. As active participants in the contemporary art world, the artists in this exhibition created their own radical feminist thinking—working broadly, on multiple fronts—to combat sexism, racism, homophobia, and classism in the art world and within their local communities. As the second-wave Feminist Movement gained strength in the 1970s, women of color found themselves working with, and at times in opposition to, the largely white, middle- class women primarily responsible for establishing the tone, priorities, and methods of the fight for gender equity in the United States. Whether the term feminism was used or not— and in communities of color, it often was not—black women envisioned a revolution against the systems of oppression they faced in the art world and the culture at large. The artists of We Wanted a Revolution employed the emerging methods of conceptual art, performance, film, and video, along with more traditional forms, including printmaking, photography, and painting. Whatever the medium, their innovative artmaking reflected their own aesthetic, cultural, and political priorities. Favoring radical transformation over reformist gestures, these activist artists wanted more than just recognition within the existing professional art world. Instead, their aim was to revolutionize the art world itself, making space for the many and varied communities of people it had largely ignored. -
CREATING COMMUNITY. CINQUE GALLERY ARTISTS MAY 3 – JULY 4, 2021 1 Charles Alston
CREATING COMMUNITY. CINQUE GALLERY ARTISTS MAY 3 – JULY 4, 2021 1 Charles Alston. Emma Amos. Benny Andrews. Romare Bearden. Dawoud Bey. Camille Billops. Robert Blackburn. Betty Blayton-Taylor. Frank Bowling. Vivian Browne. Nanette Carter. Elizabeth Catlett-Mora. Edward Clark. Ernest Crichlow. Melvin Edwards. Tom Feelings. Sam Gilliam. Ray Grist. Cynthia Hawkins. Robin Holder. Bill Hutson. Mohammad Omar Khalil. Hughie Lee-Smith. Norman Lewis. Whitfield Lovell. Alvin D. Loving. Richard Mayhew. Howard McCalebb. Norma Morgan. Otto Neals. Ademola Olugebefola. Debra Priestly. Mavis Pusey. Ann Tanksley. Mildred Thompson. Charles White. Ben Wigfall. Frank Wimberley. Hale Woodruff ESSAY BY GUEST EXHIBITION CURATOR, SUSAN STEDMAN RECOLLECTION BY GUEST PROGRAMS CURATOR, NANETTE CARTER 2 CREATING COMMUNITY. CINQUE GALLERY ARTISTS CREATING COMMUNITY. CINQUE GALLERY ARTISTS Charles Alston. Emma Amos. Benny Andrews. Romare Bearden. Dawoud Bey. Camille Billops. Robert Blackburn. Betty Blayton-Taylor. Frank Bowling. Vivian Browne. Nanette Carter. Elizabeth Catlett-Mora. Edward Clark. Ernest Crichlow. Melvin Edwards. Tom Feelings. Sam Gilliam. Ray Grist. Cynthia Hawkins. Robin Holder. Bill Hutson. Mohammad Omar Khalil. Hughie Lee-Smith. Norman Lewis. Whitfield Lovell. Alvin D. Loving. Richard Mayhew. Howard McCalebb. Norma Morgan. Otto Neals. Ademola Olugebefola. Debra Priestly. Mavis Pusey. Ann Tanksley. Mildred Thompson. Charles White. Ben Wigfall. Frank Wimberley. Hale Woodruff ESSAY BY GUEST EXHIBITION CURATOR, SUSAN STEDMAN RECOLLECTION BY GUEST PROGRAMS CURATOR, NANETTE CARTER MAY 3 — JULY 4, 2021 THE PHYLLIS HARRIMAN MASON GALLERY THE ART STUDENTS LEAGUE OF NEW YORK Cinque Gallery Announcement. Artwork by Malcolm Bailey (1947—2011). Cinque Gallery Inaugural, Solo Exhibition, 1969—70. 3 CREATING COMMUNITY. CINQUE GALLERY ARTISTS A CHRONICLE IN PROGRESS Former “306” colleagues. -
Camille Billops and James V. Hatch Archives at Emory University
Camille Billops and James V. Hatch archives at Emory University Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Digital Material Available in this Collection Descriptive Summary Title: Camille Billops and James V. Hatch archives at Emory University Call Number: Manuscript Collection No. 927 Extent: 47.25 linear feet (95 boxes), 12 oversized papers boxes and 16 oversized papers folders (OP), 6 extra oversized papers (XOP), AV Masters: 9.25 linear feet (9 boxes and LP1-4), and 10 GB born digital material (231 files) Abstract: The Camille Billops and James Hatch Archives at Emory University consists of a variety of materials relating to African American culture and art. Language: Materials entirely in English. Administrative Information Restrictions on Access Special Restrictions: Use copies have not been made for audiovisual material in this collection. Researchers must contact the Rose Library in advance for access to this material. Access to processed born digital materials is only available in the Stuart A. Rose Manuscript, Archives, and Rare Book Library (the Rose Library). Use of the original digital media is restricted. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Please note that some of the items in this collection are copies of materials held in other archival repositories. The Library will not provide researchers with copies of those items. Researchers wishing to obtain copies of these materials should contact the repository that owns the originals. Related Materials in Other Repositories Hatch-Billops Oral History at the City College of New York Emory Libraries provides copies of its finding aids for use only in research and private study. -
Examining the Creative Practices of Kiera Boult, Madelyne Beckles, Kalale Dalton-Lutale and Cason Sharpe
Chosen Family Values: Examining the Creative Practices of Kiera Boult, Madelyne Beckles, Kalale Dalton-Lutale and Cason Sharpe by Delilah Rosier Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design and New Media Histories Toronto, Ontario, Canada, May 2021. Delilah Rosier, 2021 2 Abstract This major research paper presents an autoethnographic account of the cultural production: performances, plays, video, poetry, short stories, Instagram takeovers and lived experiences of Black biracial Canadian artists Madelyne Beckles, Kalale Dalton-Lutale, Kiera Boult, and Cason Sharpe. Putting these artists in conversation with one another serves to connect and archive a creative community and moment by way of shared identities, and shared stylistic, generational, and critical vocabularies. The thread that runs throughout their works is a critical framework informed by Black thinkers and perspectives encompassing Black art and artists, feminism, queerness, pop culture, class consciousness, and intersectionality stemming from a distinctly Canadian context. As a commemoration of kinship and as a contribution to the current discourse of contemporary Canadian art, this paper makes a case for how their creative practices speak from and about a unique, intersectional perspective and make a significant contribution to the Canadian art landscape. 3 Acknowledgments Thank you to my advisors Johanna Householder and Andrea Fatona for your rigorous edits and thoughtful commentary, Rebecca Diederichs for guiding my writing spiral, Daniel Payne for your incredible bibliographic assistance, OCAD University and the Ontario Graduate Scholarship for financially supporting my studies, Fraser Wrighte for your continual support and Madelyne, Kiera, Kalale and Cason for your participation and trust in me.