DOCSLIB.ORG

Whites in Blackface, Blacks in Whiteface: Racial Fluidities and National Identities

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Whites in Blackface, Blacks in Whiteface: Racial Fluidities and National Identities WHITES IN BLACKFACE, BLACKS IN WHITEFACE: RACIAL FLUIDITIES AND NATIONAL IDENTITIES By JASON RICHARDS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2005 Copyright 2005 by Jason Richards TABLE OF CONTENTS page ABSTRACT.........................................................................................................................v CHAPTER 1 INTRODUCTION: HISTORY AND THEORY..........................................................1 Blackface and the Minstrel Show.................................................................................3 The Critical Paradox.....................................................................................................9 Blackface and American Literature............................................................................17 Blackface and Making American Selfhood................................................................18 Blackface and National Identities...............................................................................21 Notes...........................................................................................................................30 2 LOCALIZING THE EARLY REPUBLIC: WASHINGTON IRVING AND BLACKFACE CULTURE .........................................................................................32 Storytelling, Cultural Hybridity, and Blackface Desire..............................................34 Washington Irving in the Blackface Breeding Grounds.............................................40 Dislocating Local Identity ..........................................................................................44 Localizing National Identity.......................................................................................51 Notes...........................................................................................................................56 3 IMITATION NATION: BLACKFACE MINSTRELSY AND THE MAKING OF AFRICAN AMERICAN SELFHOOD IN UNCLE TOM’S CABIN ..........................58 Red, White, Blue, and Blackface................................................................................61 Blackface George Washington ...................................................................................62 Black Sam, Uncle Sam ...............................................................................................66 Adolph and George Harris: (Un)making African American Selfhood.......................71 Notes...........................................................................................................................83 4 MELVILLE’S (INTER)NATIONAL BURLESQUE: WHITEFACE, BLACKFACE, AND “BENITO CERENO”..............................................................85 Babo’s White Mask ....................................................................................................87 Blackface Delano........................................................................................................94 Cereno, the Dark Dandy ...........................................................................................101 iii The Menacing Shave ................................................................................................108 Notes.........................................................................................................................114 5 BLACKFACE VIOLENCE: DISTORTING CULTURE, HISTORY, AND FEELING..................................................................................................................116 “A Turn of the Wheel”: Blackface Revolution in The Bondwoman’s Narrative.....121 Blackface Revenge in The Garies and Their Friends ...............................................125 Whipping up Minstrel Types in Blake......................................................................131 Notes.........................................................................................................................142 6 WORKING IN THE WHITE WAY: HORATIO ALGER’S RAGGED DICK AND BLACKFACE MINSTRELSY.......................................................................144 Jim Crow and the Preindustrial Presence .................................................................149 Zip Coon and Aristocratic Decline...........................................................................155 Deminstrelization and Working in the White Way ..................................................160 Notes.........................................................................................................................166 7 AFTERWORD; OR, THE AFTERMATH: DARKTOWN STRUTTERS AND BAMBOOZLED ........................................................................................................168 Fixing and Mixing Race in Darktown Strutters .......................................................169 Bamboozled and the Dance of Death........................................................................174 Notes.........................................................................................................................180 LIST OF REFERENCES.................................................................................................181 BIOGRAPHICAL SKETCH ...........................................................................................191 iv Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy WHITES IN BLACKFACE, BLACKS IN WHITEFACE: RACIAL FLUIDITIES AND NATIONAL IDENTITIES By Jason Richards August 2005 Chair: Malini Johar Schueller Major Department: English This project examines how literary uses of blackface minstrelsy both stabilize and destabilize raced and national identities by investigating texts that involve figurative and literal representations of whites in blackface and blacks in whiteface. The narratives I analyze employ minstrelsy not only to create and sustain raced identities, but also to register slippages, overlaps, and inversions across the color line—paradoxically reinforcing and subverting racial hierarchies. I am ultimately concerned with how this paradox reveals the often contradictory nature of American selfhood. By drawing on postcolonial theory to explore how minstrelsy shaped national identity, I have sought to recontextualize blackface, which has remained largely outside discussions of postcoloniality in American studies. My first chapter recovers evidence of nascent blackface culture in the early texts of Washington Irving, evidence that has been wholly overlooked, probably because Irving began writing before minstrelsy formalized. I argue that by drawing on the local and v biracial complexities of blackface culture, Irving confronts post-colonial realities in the early national period. In the subsequent three chapters, I address blackface as a fully formed, national phenomenon. Chapter 3 illustrates how black characters in Harriet Beecher Stowe’s Uncle Tom’s Cabin employ minstrelsy and colonial mimicry to resist and conform to aspects of American identity while testing racial barriers to self-making and achieving differing degrees of selfhood. Chapter 4, on Herman Melville’s “Benito Cereno,” complicates the conventional reading of Babo as a slave in virtual blackface by arguing that he also performs a version of whiteface and that the captains Amasa Delano and Benito Cereno, who represent the North and South respectively, resemble blackface buffoons. Chapter 5 illustrates how Hannah Crafts, Frank Webb, and Martin Delany use blackface violence to challenge a hegemonic nationalism and emphasize the emotional, cultural, and historical violence committed against blacks through minstrelsy. Chapter 6 argues that the young bootblack and eponymous hero of Horatio Alger’s Ragged Dick performs the popular minstrel roles of the ragged Jim Crow and the richly dressed Zip Coon, roles that allegorize class and sectional tensions. Dick distinguishes himself from these figures as he uncovers his whiteness and works to achieve middle-class respectability. The project ends with an afterword that addresses minstrelsy’s legacy by discussing two recent works, Wesley Brown’s Darktown Strutters and Spike Lee’s Bamboozled. vi CHAPTER 1 INTRODUCTION: HISTORY AND THEORY Blackface minstrelsy, a nineteenth-century staged entertainment form wherein whites “blacked up” and gave their impressions of blacks and black life, has had enormous consequences for American racial formation, national identity, American literature, music, and film. Combining comedy, dancing, music, singing, and acting, the minstrel show, and the various performance cultures from which it grew, helped lay the groundwork for much of American popular culture. While its most prominent feature was blackface makeup, minstrelsy was as much about burlesquing blacks as satirizing society, as much about fixing race as making race fluid and adaptable. Rooted in the anxieties and desires that erupted over blackness during the slave trade, minstrelsy’s more immediate origins are spread throughout the mid-Atlantic, particularly in New York, where the form boomed around the Civil War. Although it faded from the stage by the twentieth century, then reemerged in early American cinema, before receding again during Civil Rights, blackface minstrelsy colors our culture still, persisting in various, less recognizable forms. For instance, in 2004 a black comedy
Load more

Recommended publications
  • Menaquale, Sandy
    “Prejudice is a burden that confuses the past, threatens the future, and renders the present inaccessible.” – Maya Angelou “As long as there is racial privilege, racism will never end.” – Wayne Gerard Trotman “Not everything that is faced can be changed, but nothing can be changed until it is faced.” James Baldwin “Ours is not the struggle of one day, one week, or one year. Ours is not the struggle of one judicial appointment or presidential term. Ours is the struggle of a lifetime, or maybe even many lifetimes, and each one of us in every generation must do our part.” – John Lewis COLUMBIA versus COLUMBUS • 90% of the 14,000 workers on the Central Pacific were Chinese • By 1880 over 100,000 Chinese residents in the US YELLOW PERIL https://iexaminer.org/yellow-peril-documents-historical-manifestations-of-oriental-phobia/ https://www.nytimes.com/2019/05/14/us/california-today-chinese-railroad-workers.html BACKGROUND FOR USA IMMIGRATION POLICIES • 1790 – Nationality and Citizenship • 1803 – No Immigration of any FREE “Negro, mulatto, or other persons of color” • 1848 – If we annex your territory and you remain living on it, you are a citizen • 1849 – Legislate and enforce immigration is a FEDERAL Power, not State or Local • 1854 – Negroes, Native Americans, and now Chinese may not testify against whites GERMAN IMMIGRATION https://www.pewresearch.org/wp-content/uploads/2014/05/FT_15.09.28_ImmigationMapsGIF.gif?w=640 TO LINCOLN’S CREDIT CIVIL WAR IMMIGRATION POLICIES • 1862 – CIVIL WAR LEGISLATION ABOUT IMMIGRATION • Message to Congress December
    [Show full text]
  • X MICHAEL RAPAPORT and MICHAEL : DAVID PRODUCTIONS, INC., Case No
    Case 1:18-cv-08783-NRB Document 33 Filed 12/21/18 Page 1 of 29 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -------------------------------------- X MICHAEL RAPAPORT and MICHAEL : DAVID PRODUCTIONS, INC., Case No. 1:18-CV-08783 (NRB) : Plaintiffs, DEFENDANTS’ ANSWER TO : COMPLAINT AND BARSTOOL -against- SPORTS, INC.’S COUNTERCLAIM : AGAINST PLAINTIFFS BARSTOOL SPORTS, INC., ADAM SMITH, KEVIN CLANCY, ERIC NATHAN and : DEMAND FOR JURY TRIAL DAVID PORTNOY, : Defendants. : -------------------------------------- X 08032-00008/3112705.8 Case 1:18-cv-08783-NRB Document 33 Filed 12/21/18 Page 2 of 29 ANSWER Defendants Barstool Sports, Inc. (“Barstool”), Adam Smith, Kevin Clancy, Eric Nathan and David Portnoy (collectively, “Defendants”), for their answer to the Complaint of Plaintiffs Michael Rapaport and Michael David Productions, Inc. (“MDP”) (collectively, “Plaintiffs”), and Defendant Barstool, for its Counterclaim against Plaintiffs, allege as follows: JURISDICTION AND VENUE 1. Answering Paragraph 1, Defendants admit these allegations on information and belief. 2. Answering Paragraph 2, Defendants admit these allegations on information and belief. 3. Answering Paragraph 3, Defendants admit these allegations on information and belief. 4. Answering Paragraph 4, Defendants admit these allegations on information and belief. PARTIES 5. Answering Paragraph 5, Defendants admit these allegations on information and belief. 6. Answering Paragraph 6, Defendants admit these allegations on information and belief. 7. Answering Paragraph 7, Defendants admit the allegations in the first sentence but otherwise deny Plaintiffs’ allegations. -1- 08032-00008/3112705.8 Case 1:18-cv-08783-NRB Document 33 Filed 12/21/18 Page 3 of 29 8. Answering Paragraph 8, Defendants admit that Mr.
    [Show full text]
  • “America” on Nineteenth-Century Stages; Or, Jonathan in England and Jonathan at Home
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by D-Scholarship@Pitt PLAYING “AMERICA” ON NINETEENTH-CENTURY STAGES; OR, JONATHAN IN ENGLAND AND JONATHAN AT HOME by Maura L. Jortner BA, Franciscan University, 1993 MA, Xavier University, 1998 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2005 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by It was defended on December 6, 2005 and approved by Heather Nathans, Ph.D., University of Maryland Kathleen George, Ph.D., Theatre Arts Attilio Favorini, Ph.D., Theatre Arts Dissertation Advisor: Bruce McConachie, Ph.D., Theatre Arts ii Copyright © by Maura L. Jortner 2005 iii PLAYING “AMERICA” ON NINETEENTH-CENTURY STAGES; OR, JONATHAN IN ENGLAND AND JONATHAN AT HOME Maura L. Jortner, PhD University of Pittsburgh, 2005 This dissertation, prepared towards the completion of a Ph.D. in Theatre and Performance Studies at the University of Pittsburgh, examines “Yankee Theatre” in America and London through a post-colonial lens from 1787 to 1855. Actors under consideration include: Charles Mathews, James Hackett, George Hill, Danforth Marble and Joshua Silsbee. These actors were selected due to their status as iconic performers in “Yankee Theatre.” The Post-Revolutionary period in America was filled with questions of national identity. Much of American culture came directly from England. American citizens read English books, studied English texts in school, and watched English theatre. They were inundated with English culture and unsure of what their own civilization might look like.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • The Rhetoric of Cool: Computers, Cultural Studies, and Composition
    THE RHETORIC OF COOL: COMPUTERS, CULTURAL STUDIES, AND COMPOSITION By JEFFREY RICE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2002 TABLE OF CONTENTS Eage ABSTRACT iv 1 INTRODUCTION 1 1963 12 Baudrillard 19 Cultural Studies 33 Technology 44 McLuhan’s Cool Media as Computer Text 50 Cyberculture 53 Writing 57 2 LITERATURE 61 Birmingham and Baraka 67 The Role of Literature 69 The Beats 71 Burroughs 80 Practicing a Burroughs Cultural Jamming 91 Eating Texts 96 Kerouac and Nostalgia 100 History VS Nostalgia 104 Noir 109 Noir Means Black 115 The Signifyin(g) Detective 124 3 FILM AND MUSIC 129 The Apparatus 135 The Absence of Narrative 139 Hollywood VS The Underground 143 Flaming Creatures 147 The Deviant Grammar 151 Hollywood VS The Underground 143 Scorpio Rising 154 Music: Blue Note Records 163 Hip Hop - Samplin’ and Skratchin’ 170 The Breaks 174 ii 1 Be the Machine 178 Musical Production 181 The Return of Nostalgia 187 4 COMPOSITION 195 Composition Studies 200 Creating a Composition Theory 208 Research 217 Writing With(out) a Purpose 221 The Intellectual Institution 229 Challenging the Institution 233 Technology and the Institution 238 Cool: Computing as Writing 243 Cool Syntax 248 The Writer as Hypertext 25 Conclusion: Living in Cooltown 255 5 REFERENCES 258 6 BIOGRAPHICAL SKETCH ...280 iii Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy THE RHETORIC OF COOL: COMPUTERS, CULTURAL STUDIES, AND COMPOSITION By Jeffrey Rice December 2002 Chairman: Gregory Ulmer Major Department: English This dissertation addresses English studies’ concerns regarding the integration of technology into the teaching of writing.
    [Show full text]
  • Humour and Caricature Teachers Notes Humour and Caricature
    Humour and Caricature Teachers Notes Humour and Caricature “We all love a good political cartoon. Whether we agree with the underlying sentiment or not, the biting wit and the sharp insight of a well-crafted caricature and its punch line are always deeply satisfying.” Peter Greste, Australian Journalist, Behind the Lines 2015 Foreward POINTS FOR DISCUSSION: Consider the meaning of the phrases “biting wit”, “sharp insight”, “well-crafted caricature”. Look up definitions if required. Do you agree with Peter Greste that people find political cartoons “deeply satisfying” even if they don’t agree with the cartoons underlying sentiment? Why/why not? 2 Humour and Caricature What’s so funny? Humour is an important part of most political cartoons. It’s a very effective way for The joke cartoonists to communicate their message to their audience can be simple or — and thereby help shape public opinion. multi-layered and complex. POINTS FOR DISCUSSION: “By distilling political arguments and criticisms into Do a quick exercise with your classmates — share a couple clear, easily digestible (and at times grossly caricatured) of jokes. Does everyone understand them? Why/why not? statements, they have oiled our political debate and What does this tell us about humour? helped shape public opinion”. Peter Greste, Australian Journalist, Behind the Lines foreward, http://behindthelines.moadoph.gov.au/2015/foreword. Why do you believe it’s important for cartoonists to make their cartoons easy to understand? What are some limitations readers could encounter which may hinder their understanding of the overall message? 3 Humour and Caricature Types of humour Cartoonists use different kinds of humour to communicate their message — the most common are irony, satire and sarcasm.
    [Show full text]
  • The Cruelty of Jim Crow Segregation
    Elementary School | Grades 3–5 THE CRUELTY OF JIM CROW SEGREGATION ESSENTIAL QUESTION What was Jim Crow and what was life under it like for Black Americans? OBJECTIVES Students will: → Define stereotype and explain the negative effects of stereotypes on individuals and society. → Examine the origins of Jim Crow and associated anti-Black stereotypes. → Analyze primary sources demonstrating ways in which Black people were segregated during the Jim Crow era. → Discuss ways in which Black people resisted discrimination and worked to end Jim Crow segregation. → Compose a written reflection on the impact of those who struggled to end segregation. LEARNING STANDARDS See the standards alignment chart to learn how this lesson supports New Jersey State Standards. TIME NEEDED 60 minutes MATERIALS → Who Was Jim Crow? handout (one copy to project) → Jim Crow Gallery handout (one copy per small group) → Where Did Jim Crow Segregation Take Place? handout (one copy to project) VOCABULARY activist generalization segregate/ sit-in segregation blackface Jim Crow stereotype “separate but civil rights minstrel show equal” 4 Procedures 3 NOTE While Jim Crow was most prevalent and deeply rooted in the South, segregation was a national problem. Segregation actually existed earlier in the North than in the South, for example on the Massachusetts Eastern Railroad in the 1830s. In the 20th century, federal and local policies led to segregation in public housing and schools throughout the country, and “whites only” policies were enforced in many northern shops, theaters, hotels and restaurants. "Sundown towns'' were common in both the North and South, excluding Black people through discriminatory laws, intimidation and signposts literally requiring "colored people" to leave by sundown.
    [Show full text]
  • An Aesthetic of the Cool: West Africa
    An Aesthetic of the Cool Author(s): Robert Farris Thompson Source: African Arts, Vol. 7, No. 1 (Autumn, 1973), pp. 40-43+64-67+89-91 Published by: UCLA James S. Coleman African Studies Center Stable URL: http://www.jstor.org/stable/3334749 . Accessed: 19/10/2014 02:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. UCLA James S. Coleman African Studies Center and Regents of the University of California are collaborating with JSTOR to digitize, preserve and extend access to African Arts. http://www.jstor.org This content downloaded from 142.104.240.194 on Sun, 19 Oct 2014 02:46:11 AM All use subject to JSTOR Terms and Conditions An Aesthetic of the Cool ROBERTFARRIS THOMPSON T he aim of this study is to deepen the understandingof a of elements serious and pleasurable, of responsibility and of basic West African/Afro-American metaphor of moral play. aesthetic accomplishment, the concept cool. The primary Manifest within this philosophy of the cool is the belief metaphorical extension of this term in most of these cultures that the purer, the cooler a person becomes, the more ances- seems to be control,having the value of composurein the indi- tral he becomes.
    [Show full text]
  • Passing for Black: Coon Songs and the Performance of Race Patricia R
    Ursinus College Digital Commons @ Ursinus College English Faculty Publications English Department 6-9-2010 Passing for Black: Coon Songs and the Performance of Race Patricia R. Schroeder Ursinus College Follow this and additional works at: https://digitalcommons.ursinus.edu/english_fac Part of the African American Studies Commons, American Studies Commons, Ethnomusicology Commons, Music Performance Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, and the United States History Commons Click here to let us know how access to this document benefits oy u. Recommended Citation Schroeder, Patricia R., "Passing for Black: Coon Songs and the Performance of Race" (2010). English Faculty Publications. 4. https://digitalcommons.ursinus.edu/english_fac/4 This Article is brought to you for free and open access by the English Department at Digital Commons @ Ursinus College. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. 1 Passing for Black: Coon Songs and the Performance of Race Until recently, scholars exploring blackface minstrelsy or the accompanying “coon song craze” of the 1890s have felt the need to apologize, either for the demeaning stereotypes of African Americans embedded in the art forms or for their own interest in studying the phenomena. Robert Toll, one of the first critics to examine minstrelsy seriously, was so appalled by its inherent racism that he focused his 1974 work primarily on debunking the stereotypes; Sam Dennison, another pioneer, did likewise with coon songs. Richard Martin and David Wondrich claim of minstrelsy that “the roots of every strain of American music—ragtime, jazz, the blues, country music, soul, rock and roll, even hip-hop—reach down through its reeking soil” (5).
    [Show full text]
  • Reminder List of Productions Eligible for the 90Th Academy Awards Alien
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 90TH ACADEMY AWARDS ALIEN: COVENANT Actors: Michael Fassbender. Billy Crudup. Danny McBride. Demian Bichir. Jussie Smollett. Nathaniel Dean. Alexander England. Benjamin Rigby. Uli Latukefu. Goran D. Kleut. Actresses: Katherine Waterston. Carmen Ejogo. Callie Hernandez. Amy Seimetz. Tess Haubrich. Lorelei King. ALL I SEE IS YOU Actors: Jason Clarke. Wes Chatham. Danny Huston. Actresses: Blake Lively. Ahna O'Reilly. Yvonne Strahovski. ALL THE MONEY IN THE WORLD Actors: Christopher Plummer. Mark Wahlberg. Romain Duris. Timothy Hutton. Charlie Plummer. Charlie Shotwell. Andrew Buchan. Marco Leonardi. Giuseppe Bonifati. Nicolas Vaporidis. Actresses: Michelle Williams. ALL THESE SLEEPLESS NIGHTS AMERICAN ASSASSIN Actors: Dylan O'Brien. Michael Keaton. David Suchet. Navid Negahban. Scott Adkins. Taylor Kitsch. Actresses: Sanaa Lathan. Shiva Negar. AMERICAN MADE Actors: Tom Cruise. Domhnall Gleeson. Actresses: Sarah Wright. AND THE WINNER ISN'T ANNABELLE: CREATION Actors: Anthony LaPaglia. Brad Greenquist. Mark Bramhall. Joseph Bishara. Adam Bartley. Brian Howe. Ward Horton. Fred Tatasciore. Actresses: Stephanie Sigman. Talitha Bateman. Lulu Wilson. Miranda Otto. Grace Fulton. Philippa Coulthard. Samara Lee. Tayler Buck. Lou Lou Safran. Alicia Vela-Bailey. ARCHITECTS OF DENIAL ATOMIC BLONDE Actors: James McAvoy. John Goodman. Til Schweiger. Eddie Marsan. Toby Jones. Actresses: Charlize Theron. Sofia Boutella. 90th Academy Awards Page 1 of 34 AZIMUTH Actors: Sammy Sheik. Yiftach Klein. Actresses: Naama Preis. Samar Qupty. BPM (BEATS PER MINUTE) Actors: 1DKXHO 3«UH] %LVFD\DUW $UQDXG 9DORLV $QWRLQH 5HLQDUW] )«OL[ 0DULWDXG 0«GKL 7RXU« Actresses: $GªOH +DHQHO THE B-SIDE: ELSA DORFMAN'S PORTRAIT PHOTOGRAPHY BABY DRIVER Actors: Ansel Elgort. Kevin Spacey. Jon Bernthal. Jon Hamm. Jamie Foxx.
    [Show full text]
  • Five Points Book by Harrison David Rivers Music by Ethan D
    Please join us for a Post-Show Discussion immediately following this performance. Photo by Allen Weeks by Photo FIVE POINTS BOOK BY HARRISON DAVID RIVERS MUSIC BY ETHAN D. PAKCHAR & DOUGLAS LYONS LYRICS BY DOUGLAS LYONS DIRECTED BY PETER ROTHSTEIN MUSIC DIRECTION BY DENISE PROSEK CHOREOGRAPHY BY KELLI FOSTER WARDER WORLD PREMIERE • APRIL 4 - MAY 6, 2018 • RITZ THEATER Theater Latté Da presents the world premiere of FIVE POINTS Book by Harrison David Rivers Music by Ethan D. Pakchar & Douglas Lyons Lyrics by Douglas Lyons Directed by Peter Rothstein** Music Direction by Denise Prosek† Choreography by Kelli Foster Warder FEATURING Ben Bakken, Dieter Bierbrauer*, Shinah Brashears*, Ivory Doublette*, Daniel Greco, John Jamison, Lamar Jefferson*, Ann Michels*, Thomasina Petrus*, T. Mychael Rambo*, Matt Riehle, Kendall Anne Thompson*, Evan Tyler Wilson, and Alejandro Vega. *Member of Actors’ Equity Association, the Union of Professional Actors ** Member of SDC, the Stage Directors and Choreographers Society, a national theatrical labor union †Member of Twin Cities Musicians Union, American Federation of Musicians FIVE POINTS will be performed with one 15-minute intermission. Opening Night: Saturday, April 7, 2018 ASL Interpreted and Audio Described Performance: Thursday, April 26, 2018 Meet The Writers: Sunday, April 8, 2018 Post-Show Discussions: Thursdays April 12, 19, 26, and May 3 Sundays April 11, 15, 22, 29, and May 6 This production is made possible by special arrangement with Marianne Mills and Matthew Masten. The videotaping or other video or audio recording of this production is strictly prohibited. As a courtesy to the performers and other patrons, please check to see that all cell phones, pagers, watches, and other noise-making devices are turned off.
    [Show full text]
  • Constantly Battling Whiteness
    CONSTANTLY BATTLING WHITENESS: A CRITICAL CASE STUDY OF BLACK STUDENTS’ EXPERIENCES AT A PREDOMINATELY WHITE INSTITUTION Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Lane R. Washington, M.S. Graduate Program in Educational Studies The Ohio State University 2020 Dissertation Committee Dr. Marc P. Johnston-Guerrero, Chair Dr. Noelle W. Arnold Dr. Susan R. Jones Copyrighted by Lane R. Washington 2020 Abstract The purpose of this study was to describe the campus racial climate and the experiences of Black students at a Predominately White Institution (PWI). Using the Multi-Contextual Model for Diverse Learning Environments (MMDLE) as a theoretical framework and Critical Race Theory as an analytical tool, this research interrogated the ways in which race and racism shape the experiences of Black students at a uniquely structured PWI focused on social justice. Guided by a critical epistemological foundation, this critical case study addressed the following question: What is the campus racial climate for Black students at a social justice striving PWI? Additionally, several sub-questions, influenced by the five dimensions of the MMDLE, guiding the study were: (a) What historical aspects of the institution informed contemporary climate for Black students?; (b) How did the institutions' policies and practices influence Black students’ experiences with the racial climate?; (c) How did the racial composition of the university inform the campus racial climate?; (d) What did the cross-racial interactions look like for Black students and their peers?; and (e) How did Black students perceive the institution in terms of race? In the study, 24 students, 6 faculty, and 17 administrators with different races, ethnicities, ages, and experiences provided insights into the racial climate for Black students.
    [Show full text]