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The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved 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 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
The Blues Dogs Band Has Been Helping Him Discover Wisconsin, So Be Sure to Welcome Him
.After over 40 years playing blues in bars, these guys got it down. Dues have been paid and paid again. The Chippewa Valley Blues Society presents Harvey Fields started playing drums as a boy at the Checkerboard Lounge in Chicago with his mentors, Howlin' Wolf and Muddy Waters. His Uncle, Lucky Evans was an alumnus of the Howlin' Wolf band and took Harvey all around the world, playin' blues and payin dues. Steve John Meyer, lead vocalist, guitarist and harp player, is a graduate of thousands of smoky nights. He's led the 'dream life'... jammin' blues in every bar in Minnesota and Wisconsin, then spending the night on the road, in an old beat up van, usually cold, and snowing. Steve started blowin harp in '68, playin on the lakeshore, in laundry rooms and culverts to find 'the sound.' One night he was jamming with some guys he just met in an old roadhouse down by Cedar Lake and the place was packed. At one point the hot, sweaty crowd just stopped dancing to watch, and he never looked back. He knew he'd finally found it. Dean Wolfson plays bass. He's been jammin' round the twin cities since the 70's. Dean also plays for folk June 16, 2009 rocker Geno LaFond. The Blues Dogs band has been helping him discover Wisconsin, so be sure to welcome him. Kenny Danielson, from LacDuFlambeau, native American blues guitarist, singer and "long time blues enthusiast" rounds out the quartet for the evening. The Blues Dogs Next Week Upcoming Schedule The Pumps The Pumps If you haven't been to one of their June 20th Barnacles on Mille Lacs shows, you're missing out on a trio of cool cats, all June27th Smalley’s in Stillwater veterans of the local and national scene - Tom Brill July 4th Brewski's in Balsam Lake on guitar and vocals, Buck Barrickman on bass and July 11th Noon at the Harbor Bar Blues Fest vocals and Frank Juodis on drums and vocals. -
Local Links for SAA Web Site
LOCAL LINKS FOR SAA ANNUAL MEETING WEB SITE Updated: April 30, 2007 Locations are Chicago, IL unless otherwise noted. Telephone number in right column indcates no web site. IN TWELVE SECTIONS 1. GENERAL AND LOGISTICS 7. MUSEUMS, ARCHIVES, LIBRARIES, PARKS, AND OTHER CULTURAL INSTITUTIONS 2. ARCHIVAL ORGANIZATIONS 8. MUSIC, THEATER, AND FILM 3. BOOKSTORES 9. ORGANIZED SIGHTSEEING AND TOURS 4. COLLEGES AND UNIVERSITIES 10. SPORTS AND RECREATION 5. DINING--PART 1--DINING GUIDES AND REVIEWS 11. TOURIST SITES AND HISTORIC AREAS AND NEIGHBORHOODS 6. DINING--PART 2--NEARBY RESTAURANTS (SEE MAP) 12. TRANSPORTATION 1. GENERAL AND LOGISTICS Chicago and Illinois Tourist Office http://www.gochicago.com/ Chicago Convention and Tourism Bureau http://www.choosechicago.com/ Chicago Defender (newspaper) http://chicagodefender.com/ Chicago Greeter (volunteer city orientation service) http://chicagogreeter.com/ Chicago Magazine (monthly magazine) http://chicagomag.com/ Chicago Quick Guide http://guestinformant.com Chicago Reader (alternative weekly newspaper) http://chicagoreader.com Chicago Sun-Times (newspaper) http://www.suntimes.com Chicago Traveler http://www.chicagotraveler.com/ Chicago Tribune (newspaper) http://chicagotribune.com City of Chicago (city government) http://www.cityofchicago.org City Pass (multi-attraction pass) http://www.citypass.com Cook County (county government) http://www.co.cook.il.us Enjoy Illinois (Illinois tourism information) http://www.enjoyillinois.com/ Fairmont Chicago Hotel http://www.fairmont.com/chicago/ Fodor's Guide -
Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter
Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations 2014 Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry Emily Rutter Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Rutter, E. (2014). Constructions of the Muse: Blues Tribute Poems in Twentieth- and Twenty-First Century American Poetry (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1136 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY A Dissertation Submitted to the McAnulty College of Liberal Arts Duquesne University In partial fulfillment of the requirements for the degree of Doctor of Philosophy By Emily Ruth Rutter March 2014 Copyright by Emily Ruth Rutter 2014 ii CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter Approved March 12, 2014 ________________________________ ________________________________ Linda A. Kinnahan Kathy L. Glass Professor of English Associate Professor of English (Committee Chair) (Committee Member) ________________________________ ________________________________ Laura Engel Thomas P. Kinnahan Associate Professor of English Assistant Professor of English (Committee Member) (Committee Member) ________________________________ ________________________________ James Swindal Greg Barnhisel Dean, McAnulty College of Liberal Arts Chair, English Department Professor of Philosophy Associate Professor of English iii ABSTRACT CONSTRUCTIONS OF THE MUSE: BLUES TRIBUTE POEMS IN TWENTIETH- AND TWENTY-FIRST-CENTURY AMERICAN POETRY By Emily Ruth Rutter March 2014 Dissertation supervised by Professor Linda A. -
Literary African Heritage, Primarily in Response to an Omnipresent
DOCUMENT RESUME ED 058 182 TE 002 438 AUTHOR Schultz, Elizabeth TITLE The Blues in Black Literature. PUB DATE Feb 71 NOTE 5p. JOURNAL CIT Kansas English; v56 n3 p19-23 February 1971 EDRS PRICE MF-$0.65 HC-$3.29 DESCRIPTORS *American Literature; Composition (Literary); *Cultural Factors; *Language Usage; *Literary Criticism; *Negro Literature; Poetry; Social Dialects ABSTRACT The literature of black America repeatedly reflects a native rootlessness and its creators' yearning for a home. The black writer settles his work in an ethos, which has evolved from an older African heritage, primarily in response to an omnipresent white society. In this document, one of these ethnic expressions--the blues--is examined as a means of exploring American Negro literature in general. The blues form a body of significant poems and, transmuted, they become the symbolic basis of such complex works as Richard Wright's "Black Boy" and Ralph Ellison's "Invisible Man." In formal terms, the blues are typically a 12 bar, three line stanza--the first two lines repeated, but linked in content and rhyme with the third. (CK) The Blues in Black Literature ELIZABETH SCHULTZ Kansas University American literature has always reflected the American's restlessness and rootlessness. Ishmael goes off to the South Seas. Huck Finn takes a raft down the Mississippi. Christopher Newman heads for Europe. Yet American writers repeatedly ground their works in a particular locale. Hawthorne sticks close to Salem, Faulkner confines himself to his particular postage-stamp, Yoknapataw- pha County, Saul Bellow locates the majority of his works in large urban cen- ters. -
Frommer's Portable Chicago 4Th Edition
542885 FM.qxd 1/16/04 9:42 PM Page i PORTABLE Chicago 4th Edition by Elizabeth Canning Blackwell Here’s what critics say about Frommer’s: “Amazingly easy to use. Very portable, very complete.” —Booklist “Detailed, accurate, and easy-to-read information for all price ranges.” —Glamour Magazine 542885 FM.qxd 1/16/04 9:42 PM Page ii Published by: WILEY PUBLISHING,INC. 111 River St. Hoboken, NJ 07030-5744 Copyright © 2004 Wiley Publishing, Inc., Hoboken, New Jersey. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning or otherwise, except as per- mitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978/750-8400, fax 978/646-8600. Requests to the Publisher for permis- sion should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317/572-3447, fax 317/572-4447, E-Mail: [email protected]. Wiley and the Wiley Publishing logo are trademarks or registered trade- marks of John Wiley & Sons, Inc. and/or its affiliates. Frommer’s is a trademark or registered trademark of Arthur Frommer. Used under license. All other trademarks are the property of their respective owners. Wiley Publishing, Inc. is not associated with any product or vendor mentioned in this book. -
The Influence of Louis Armstrong on the Harlem Renaissance 1923-1930
ABSTRACT HUMANITIES DECUIR, MICHAEL B.A. SOUTHERN UNIVERSITY AT NEW ORLEANS, 1987 M.A. THE UNIVERSITY OF CALIFORNIA, BERKELEY, 1989 THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 Committee Chair: Timothy Askew, Ph.D. Dissertation dated August 2018 This research explores Louis Armstrong’s artistic choices and their impact directly and indirectly on the African-American literary, visual and performing arts between 1923 and 1930 during the period known as the Harlem Renaissance. This research uses analyses of musical transcriptions and examples of the period’s literary and visual arts to verify the significance of Armstrong’s influence(s). This research also analyzes the early nineteenth century West-African musical practices evident in Congo Square that were present in the traditional jazz and cultural behaviors that Armstrong heard and experienced growing up in New Orleans. Additionally, through a discourse analysis approach, this research examines the impact of Armstrong’s art on the philosophical debate regarding the purpose of the period’s art. Specifically, W.E.B. Du i Bois’s desire for the period’s art to be used as propaganda and Alain Locke’s admonitions that period African-American artists not produce works with the plight of blacks in America as the sole theme. ii THE INFLUENCE OF LOUIS ARMSTRONG ON THE HARLEM RENAISSANCE 1923–1930 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF ARTS IN HUMANITIES BY MICHAEL DECUIR DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA AUGUST 2018 © 2018 MICHAEL DECUIR All Rights Reserved ACKNOWLEDGEMENTS My greatest debt of gratitude goes to my first music teacher, my mother Laura. -
From Within the Frame: Storytelling in African-American Fiction
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 From within the frame: Storytelling in African-American fiction Bertram Duane Ashe College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, and the American Literature Commons Recommended Citation Ashe, Bertram Duane, "From within the frame: Storytelling in African-American fiction" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623921. https://dx.doi.org/doi:10.21220/s2-s19x-y607 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USRRS This manuscript has been reproduced from the microfilm master. U M I films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter free, while others may be from any type o f computer printer. The quality o f this reproduction is dependent upon the quality o f the copy submitted* Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send U M I a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Gauging Success Toward the Guild Complex'
Leveraging Assets: How Small Budget Arts Activities Benefit Neighborhoods by Diane Grams and Michael Warr Publication Date: March 2003 Leveraging Assets: How Small Budget Arts Activities Benefit Neighborhoods is a research report commissioned by The Richard H. Driehaus Foundation and funded by The John D. and Catherine T. MacArthur Foundation. ACKNOWLEDGEMENTS We would like to gratefully acknowledge the people and organizations that made this report possible. First we would like to thank The Richard H. Driehaus Foundation and The John D. and Catherine T. MacArthur Foundation for initiating and funding this study. We would like to specifically thank Sunny Fischer, Executive Director and Peter Handler, Program Officer for The Richard H. Driehaus Foundation, and Nick Rabkin, the former Program Officer for Community Development at The MacArthur Foundation. Judith Wittner, Ph.D. and Peter Whalley, Ph.D. both of Loyola University, Chicago, and Morrie Warshawski, an independent consultant in the non-profit arts spent time reading early versions of parts of this document and gave us valuable critical assessments. Chapin Hall researchers at the University of Chicago met with us early on and shared some of their experience and knowledge carrying out similar research projects in Chicago. Alaka Wali, Ph.D. shared some early data from her study Informal Arts: Finding Cohesion, Capacity and Other Cultural Benefits in Unexpected Places, a research report to The Center for Arts Policy at Columbia College. Julie Burros, Director of Cultural Planning at the City of Chicago’s Department of Cultural Affairs and Alison Zehr, Consultant at the DOCA, also shared data from the Survey of Chicago’s Cultural Landscape on the distribution of arts organizations and their capitalization. -
“Formal Renditions”: Revisiting the Baraka-Ellison Debate, an Essay By
james smethurst “Formal Renditions” Revisiting the Baraka-Ellison Debate f Amiri Baraka had never published anything but Blues People, Ihe would still be an important cultural critic. The appearance of the book in 1963 is a plausible beginning for when and where cul- tural studies began in the United States, a starting point that, in fact, antedates the founding of the Centre for Cultural Studies by Richard Hoggart in Birmingham, England. As Nathaniel Mackey argued about Blues People in a groundbreaking 1978 essay on black music as impulse and theme in Baraka’s work: The book thus has to do with the various transformations — from African to Afro-American, slave to citizen, rural to urban — undergone by black people in the United States and the attendant transformations of Afro-American music. 1 In 1964 Ralph Ellison published a review excoriating Blues People for what he saw as its heavy-handed essentialism, especially in the conclusion to Baraka’s book, famously saying that the sociological weight that Baraka heaped on the music “would even give the blues the blues.” This essay revisits this conflict between Baraka and Ellison, which foreshadowed larger debates over the relationship (or nonrela- tionship) of African Americans to the United States in the Black Pow- er and Black Arts period. Baraka and Ellison’s debate used models of black music, particularly what Baraka termed a “blues continuum” rooted in the South and continually transformed in urban industrial centers while retaining a blues core (the “changing same” as Baraka would famously term it later), as guides for black artists in other genres and media, whether to enmesh themselves further in the fabric of “America” or draw away to some other notion of polity or nation. -
" African Blues": the Sound and History of a Transatlantic Discourse
“African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music. -
Ernest Logan President
www.EDUCATIONUPDATE.com AwardAward Volume XII, No. 6 • New York City • FEBRUARY 2007 Winner FOR ParenTS, EDucaTORS & STUDenTS PRESIDENT ERNEST CSA LOGAN U.S. POSTAGE PAID U.S. POSTAGE V P PRSRT STD. PRSRT OO ermit No.500 RH EES , NJ NEW PRESIDENT COUNCIL OF SCHOOL SUpeRVISORS & ADMINISTRATORS 10 SPOTLIGHT ON SCHOOLS ■ EDUCATION UPDATE ■ FEBRUARY 2007 HS Students Create Winning Businesses at Virtual Enterprises business plans to a panel of judges in hopes were winners in the eyes of Virtual Enterprises, the other business firms. This experience has been of winning a place in the national competi- group that came in third place was VE Law from very motivational for all students and an oppor- tion so they can have the opportunity to win New Dorp HS, second place The Printing Depot tunity for them to network with the right kinds of $25,000 as the final prize. Students develop from Fort Hamilton HS, and first place, Universal people and gain all sorts of skills. From building their business plans and are responsible for Promotions from Edward R. Murrow HS. Cheers a business from the ground up to being able to every aspect of its success including the resounded throughout the room, as winners were stand in front of judges and make a presentation, funding, problem solving and international announced. all Virtual Enterprises students have benefited trading for their businesses. Many of the competitors will be given intern- from this highly educational competition and are The final round of the BusinessFOSS_5 Plan xships 10_bw with ad Deloitte 6/28/06 & Touche 2:36 as well PM as Pagemany 1 all champions.# Competition took place at sponsor Deloitte & Touche’s corporate offices at 2 World Financial Center with 14 teams and 6 finalists from FOSS® (Full Option Science (L-R) Joseph Delaney & Iris Blanc various high schools from around the city.