Archivists & Archives of Color Newsletter
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Questionnaire Responses Emily Bernard
Questionnaire Responses Emily Bernard Modernism/modernity, Volume 20, Number 3, September 2013, pp. 435-436 (Article) Published by Johns Hopkins University Press DOI: https://doi.org/10.1353/mod.2013.0083 For additional information about this article https://muse.jhu.edu/article/525154 [ Access provided at 1 Oct 2021 22:28 GMT with no institutional affiliation ] questionnaire responses ments of the productions of the Harlem Renaissance? How is what might be deemed 435 a “multilingual mode of study” vital for our present day work on the movement? The prospect of a center for the study of the Harlem Renaissance is terribly intriguing for future scholarly endeavors. Houston A. Baker is Distinguished University Professor and a professor of English at Vander- bilt University. He has served as president of the Modern Language Association of America and is the author of articles, books, and essays devoted to African American literary criticism and theory. His book Betrayal: How Black Intellectuals Have Abandoned the Ideals of the Civil Rights Era (2008) received an American Book Award for 2009. Emily Bernard How have your ideas about the Harlem Renaissance evolved since you first began writing about it? My ideas about the Harlem Renaissance haven’t changed much in the last twenty years, but they have expanded. I began reading and writing about the Harlem Renais- sance while I was still in college. I was initially drawn to it because of its surfaces—styl- ish people in attractive clothing, the elegant interiors and exteriors of its nightclubs and magazines. Style drew me in, but as I began to read and write more, it wasn’t the style itself but the intriguing degree of importance assigned to the issue of style that kept me interested in the Harlem Renaissance. -
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. -
Publishing Blackness: Textual Constructions of Race Since 1850
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE publishing blackness publishing blackness Textual Constructions of Race Since 1850 George Hutchinson and John K. Young, editors The University of Michigan Press Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2016 2015 2014 2013 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Publishing blackness : textual constructions of race since 1850 / George Hutchinson and John Young, editiors. pages cm — (Editorial theory and literary criticism) Includes bibliographical references and index. ISBN 978- 0- 472- 11863- 2 (hardback) — ISBN (invalid) 978- 0- 472- 02892- 4 (e- book) 1. American literature— African American authors— History and criticism— Theory, etc. 2. Criticism, Textual. 3. American literature— African American authors— Publishing— History. 4. Literature publishing— Political aspects— United States— History. 5. African Americans— Intellectual life. 6. African Americans in literature. I. Hutchinson, George, 1953– editor of compilation. II. Young, John K. (John Kevin), 1968– editor of compilation PS153.N5P83 2012 810.9'896073— dc23 2012042607 acknowledgments Publishing Blackness has passed through several potential versions before settling in its current form. -
The Harlem Renaissance: a Handbook
.1,::! THE HARLEM RENAISSANCE: A HANDBOOK A DISSERTATION SUBMITTED TO THE FACULTY OF ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY ELLA 0. WILLIAMS DEPARTMENT OF AFRO-AMERICAN STUDIES ATLANTA, GEORGIA JULY 1987 3 ABSTRACT HUMANITIES WILLIAMS, ELLA 0. M.A. NEW YORK UNIVERSITY, 1957 THE HARLEM RENAISSANCE: A HANDBOOK Advisor: Professor Richard A. Long Dissertation dated July, 1987 The object of this study is to help instructors articulate and communicate the value of the arts created during the Harlem Renaissance. It focuses on earlier events such as W. E. B. Du Bois’ editorship of The Crisis and some follow-up of major discussions beyond the period. The handbook also investigates and compiles a large segment of scholarship devoted to the historical and cultural activities of the Harlem Renaissance (1910—1940). The study discusses the “New Negro” and the use of the term. The men who lived and wrote during the era identified themselves as intellectuals and called the rapid growth of literary talent the “Harlem Renaissance.” Alain Locke’s The New Negro (1925) and James Weldon Johnson’s Black Manhattan (1930) documented the activities of the intellectuals as they lived through the era and as they themselves were developing the history of Afro-American culture. Theatre, music and drama flourished, but in the fields of prose and poetry names such as Jean Toomer, Langston Hughes, Countee Cullen and Zora Neale Hurston typify the Harlem Renaissance movement. (C) 1987 Ella 0. Williams All Rights Reserved ACKNOWLEDGEMENTS Special recognition must be given to several individuals whose assistance was invaluable to the presentation of this study. -
OBJ (Application/Pdf)
MMilt Published Quarterly by Atlanta University DECEMBER ■ TABLE OF CONTENTS Page 3 Calendar 4 The New Music and Radio Center 6 The Annual Meeting of the As¬ sociation for the Study of Negro Life and History 8 Feature of the Issae French Graduates Lured hy Teaching 12 The 1950 Summer School 13 Sociology Department Con¬ ducts Post Health Survey 13 Private Library Bequeathed to University 14 The Conference on Library Ed¬ ucation AT OPENING OF MUSIC AND RADIO CENTER 17 Charter Day Is Observed (See Page 4) 18 Three Hundred Ninety - to assistant director Eight (Left right) Thomas Bernard, of public relations, RCA Are Enrolled in Graduate Victor; President Rufus E. Clement, of Atlanta Udiversity; James M. Toney, School director of public relations for RCA. 19 Spotlight 20 The Countee Cullen Memorial Collection 22 Graduate Degrees Awarded to 99 at Summer Convocation 23 Sidelines 24 Faculty Items 27 Alumni News 29 Requiescat in Pace 31 A Letter to Alumni and Friends from the President of the University Cover: Summer Graduating Class. 1950 Series III DECEMBER 1950 No. 72 Entered as second-class matter February 28, 1935, at the Post Office at Atlanta, Georgia, under the Act of August 24, 1912. Acceot- ance for mailing at special rate of postage provided for in the Act of February 28, 1925, 538, P. L. 4 H. 2 CALENDAR CHARTER DAY CONVOCATION: October 16 —Dr. Subject: “Integration of Undergraduate Pro¬ Charles S. Johnson. President of Fisk University grams with Graduate Programs in Library Ser¬ Subject: “Coming of Age” vice" CHARTER DAY DINNER: October 16 —Honoring CLOSING OF THE LIBRARY CONFERENCE: No¬ New Members of the Graduate Faculty vember 11 — Summary Delivered by Eric Moore. -
Travel Papers in American Literature
ROAD SHOW Travel Papers in American Literature This exhibition celebrates the American love of travel and adventure in both literary works and the real-life journeys that have inspired our most beloved travel narratives. Exploring American literary archives as well as printed and published works, Road Show reveals how travel is recorded, marked, and documented in Beinecke Library’s American collections. Passports and visas, postcards and letters, travel guides and lan- guage lessons—these and other archival documents attest to the physical, emotional, and intellectual experiences of moving through unfamiliar places, encountering new landscapes and people, and exploring different ways of life and world views. Literary manuscripts, travelers’ notebooks, and recorded reminiscences allow us to consider and explore travel’s capacity for activating the imagination and igniting creativity. Artworks, photographs, and published books provide opportunities to consider the many ways artists and writers transform their own activities and human interactions on the road into works of art that both document and generate an aesthetic experience of journeying. 1-2 Luggage tag, 1934, Gertrude Stein and Alice B. Toklas Papers 3 Langston Hughes, Mexico, undated, Langston Hughes Papers 4 Shipboard photograph of Margaret Anderson, Louise Davidson, Madame Georgette LeBlanc, undated, Elizabeth Jenks Clark Collection of Margaret Anderson 5-6 Langston Hughes, Some Travels of Langston Hughes world map, 1924-60, Langston Hughes Papers 7 Ezra Pound, Letter to Viola Baxter Jordan with map, 1949, Viola Baxter Jordan Papers 8 Kathryn Hulme, How’s the Road? San Francisco: Privately Printed [Jonck & Seeger], 1928 9 Baedeker Handbooks for Greece, Belgium and Holland, Paris, Berlin, Great Britain, various dates 10 H. -
The Minstrel Legacy: African American English and the Historical Construction of “Black” Identities in Entertainment
Africana Studies Faculty Publications Africana Studies 12-2015 The insM trel Legacy: African American English and the Historical Construction of "Black" Identities in Entertainment Jennifer Bloomquist Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/afsfac Part of the African American Studies Commons, Film and Media Studies Commons, and the Linguistics Commons Share feedback about the accessibility of this item. Bloomquist, Jennifer. "The inM strel Legacy: African American English and the Historical Construction of "Black" Identities in Entertainment." Journal of African American Studies 19, no. 4 (December 2015). 410-425. This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/afsfac/22 This open access article is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. The insM trel Legacy: African American English and the Historical Construction of "Black" Identities in Entertainment Abstract Linguists have long been aware that the language scripted for "ethnic" roles in the media has been manipulated for a variety of purposes ranging from the construction of character "authenticity" to flagrant ridicule. This paper provides a brief overview of the history of African American roles in the entertainment industry from minstrel shows to present-day films. I am particularly interested in looking at the practice of distorting African American English as an historical artifact which is commonplace in the entertainment industry today. -
Queering Black Greek-Lettered Fraternities, Masculinity and Manhood : a Queer of Color Critique of Institutionality in Higher Education
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2019 Queering black greek-lettered fraternities, masculinity and manhood : a queer of color critique of institutionality in higher education. Antron Demel Mahoney University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the African American Studies Commons, Africana Studies Commons, American Studies Commons, Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, Higher Education Commons, History of Gender Commons, and the Performance Studies Commons Recommended Citation Mahoney, Antron Demel, "Queering black greek-lettered fraternities, masculinity and manhood : a queer of color critique of institutionality in higher education." (2019). Electronic Theses and Dissertations. Paper 3286. https://doi.org/10.18297/etd/3286 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The nivU ersity of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The nivU ersity of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. QUEERING BLACK GREEK-LETTERED FRATERNITIES, MASCULINITY AND MANHOOD: A QUEER OF COLOR CRITIQUE OF INSTITUTIONALITY IN HIGHER EDUCATION By Antron Demel Mahoney B.S., -
Tributaries on the Name of the Journal: “Alabama’S Waterways Intersect Its Folk- Ways at Every Level
Tributaries On the name of the journal: “Alabama’s waterways intersect its folk- ways at every level. Early settlement and cultural diffusion conformed to drainage patterns. The Coastal Plain, the Black Belt, the Foothills, and the Tennessee Valley re- main distinct traditional as well as economic regions today. The state’s cultural landscape, like its physical one, features a network of “tributaries” rather than a single dominant mainstream.” —Jim Carnes, from the Premiere Issue JournalTributaries of the Alabama Folklife Association Joey Brackner Editor 2002 Copyright 2002 by the Alabama Folklife Association. All Rights Reserved. Issue No. 5 in this Series. ISBN 0-9672672-4-2 Published for the Alabama Folklife Association by NewSouth Books, Montgomery, Alabama, with support from the Folklife Program of the Alabama State Council on the Arts. The Alabama Folklife Association c/o The Alabama Center for Traditional Culture 410 N. Hull Street Montgomery, AL 36104 Kern Jackson Al Thomas President Treasurer Joyce Cauthen Executive Director Contents Editor’s Note ................................................................................... 7 The Life and Death of Pioneer Bluesman Butler “String Beans” May: “Been Here, Made His Quick Duck, And Got Away” .......... Doug Seroff and Lynn Abbott 9 Butler County Blues ................................................... Kevin Nutt 49 Tracking Down a Legend: The “Jaybird” Coleman Story ................James Patrick Cather 62 A Life of the Blues .............................................. Willie Earl King 69 Livingston, Alabama, Blues:The Significance of Vera Ward Hall ................................. Jerrilyn McGregory 72 A Blues Photo Essay ................................................. Axel Küstner Insert A Vera Hall Discography ...... Steve Grauberger and Kevin Nutt 82 Chasing John Henry in Alabama and Mississippi: A Personal Memoir of Work in Progress .................John Garst 92 Recording Review ........................................................ -
Black Performance and Cultural Criticism Valerie Lee and E. Patrick Johnson, Series Editors
Black Performance and Cultural Criticism Valerie Lee and E. Patrick Johnson, Series Editors Seniors_Book4print.indb 1 5/28/2009 11:30:56 AM Seniors_Book4print.indb 2 5/28/2009 11:30:56 AM BEYOND LIFT EVERY VOICE AND SING The Culture of Uplift, Identity, and Politics in Black Musical Theater • Paula Marie Seniors The Ohio State University Press Columbus Seniors_Book4print.indb 3 5/28/2009 11:30:56 AM Copyright © 2009 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Seniors, Paula Marie. Beyond lift every voice and sing : the culture of uplift, identity, and politics in black musical theater / Paula Marie Seniors. p. cm. — (Black performance and cultural criticism) Includes bibliographical references and index. ISBN-13: 978-0-8142-1100-7 (cloth : alk. paper) ISBN-10: 0-8142-1100-3 (cloth : alk. paper) 1. African Americans in musical theater—History. 2. Musical theater—United States—History. 3. Johnson, James Weldon, 1871–1938. 4. Johnson, J. Rosamond (John Rosamond), 1873–1954. 5. Cole, Bob, 1868–1911. I. Title. ML1711.S46 2009 792.6089'96073—dc22 2008048102 This book is available in the following editions: Cloth (ISBN 978-0-8142-1100-7) CD-ROM (ISBN 978-0-8142-9198-6) Cover design by Laurence Nozik. Type set in Adobe Sabon. Text design by Jennifer Shoffey Forsythe. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the Ameri- can National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 Seniors_Book4print.indb 4 5/28/2009 11:30:56 AM This book is dedicated to my scholar activist parents AUDREY PROCTOR SENIORS CLARENCE HENRY SENIORS AND TO MIss PARK SENIORS Their life lessons and love nurtured me. -
'Poet on Poet': Countee Cullen and Langston Hughes
ANGLOGERMANICA ONLINE 2007. Millanes Vaquero, Mario: ‘Poet on Poet’: Countee Cullen and Langston Hughes (Two Versions for an Aesthetic-Literary Theory) ____________________________________________________________________________________ ‘Poet on Poet’: Countee Cullen and Langston Hughes (Two Versions for an Aesthetic-Literary Theory) Mario Millanes Vaquero, Universidad Complutense de Madrid (Spain) If I am going to be a poet at all, I am going to be POET and not NEGRO POET. Countee Cullen A poet is a human being. Each human being must live within his time, with and for his people, and within the boundaries of his country. Langston Hughes Because the Negro American writer is the bearer of two cultures, he is also the guardian of two literary traditions. Robert Bone Index 1 Introduction 2 Poet on Poet 3 Africa, Friendship, and Gay Voices 4 The (Negro) Poet 5 Conclusions Bibliography 1 Introduction Countee Cullen (1903-1946) and Langston Hughes (1902-1967) were two of the major figures of a movement later known as the Harlem Renaissance. Although both would share the same artistic circle and play an important role in it, Cullen’s reputation was eclipsed by that of Hughes for many years after his death. Fortunately, a number of scholars have begun to clarify their places in literary history. I intend to explain the main aspects in which their creative visions differ: Basically, Cullen’s traditional style and themes, and Hughes’s use of blues, jazz, and vernacular. I will focus on their debut books, Color (1925), and The Weary Blues (1926), respectively. 2 Poet on Poet A review of The Weary Blues appeared in Opportunity on 4 March, 1926. -
Black Music Research Bulletin, Spring 1989
Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Spring 4-1-1989 Black Music Research Bulletin, Spring 1989 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Bulletin, Spring 1989" (1989). Center for Black Music Research: Black Music Research Newsletter. 28. https://digitalcommons.colum.edu/cbmrnews/28 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH BULLETIN C B \I R COLUMBIA COLLEGE CHICAGO Vol. 11, No. 1 ISSN 0898-8536 Spring 1989 Contents Tum-of-the-Century Jug Bands in the Southeastern United States Black Music on the Southeast- em Seaboard by Bruce Bastin, Sussex, England Tum-of-the-Century Jug 1 and leffrey Green, West Sussex, England Bands in the Southeastern United States Sources of information on the mu sonal aspects of performers, although Bruce Bastin and Jeffrey Green sical styles and groups playing with they do not add very much to our in small communities are so scant knowledge of the societies that pro Black Vaudeville and the 3 that researchers have been forced to duced or listened to the music. TOBA in Atlanta rely on evidence of commercial pho Should we turn to sources that, on Thomas L.