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Georgia Douglas Johnson and Eulalie Spence As Figures Who Fostered Community in the Midst of Debate
Art versus Propaganda?: Georgia Douglas Johnson and Eulalie Spence as Figures who Fostered Community in the Midst of Debate Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Caroline Roberta Hill, B.A. Graduate Program in Theatre The Ohio State University 2019 Thesis Committee: Jennifer Schlueter, Adviser Beth Kattelman Copyright by Caroline Roberta Hill 2019 Abstract The Harlem Renaissance and New Negro Movement is a well-documented period in which artistic output by the black community in Harlem, New York, and beyond, surged. On the heels of Reconstruction, a generation of black artists and intellectuals—often the first in their families born after the thirteenth amendment—spearheaded the movement. Using art as a means by which to comprehend and to reclaim aspects of their identity which had been stolen during the Middle Passage, these artists were also living in a time marked by the resurgence of the Ku Klux Klan and segregation. It stands to reason, then, that the work that has survived from this period is often rife with political and personal motivations. Male figureheads of the movement are often remembered for their divisive debate as to whether or not black art should be politically charged. The public debates between men like W. E. B. Du Bois and Alain Locke often overshadow the actual artistic outputs, many of which are relegated to relative obscurity. Black female artists in particular are overshadowed by their male peers despite their significant interventions. Two pioneers of this period, Georgia Douglas Johnson (1880-1966) and Eulalie Spence (1894-1981), will be the subject of my thesis. -
The Origins and Development of English Folk Plays
National Centre for English Cultural Tradition University of Sheffield THE ORIGINS AND DEVELOPMENT OF ENGLISH FOLK PLAYS Volume 1 Thesis Submitted for the Degree of Ph.D. Peter Thomas Millington May 2002 ABSTRACT This thesis concerns those English folk plays whose plots are centred on the quack doctor character. Earlier researchers proposed three possible origins for these plays: a non-specific mystery play from the time of the crusades, some pre- Christian fertility ritual, and primitive shamanism. All three proposals were based on over-general comparisons, and relied on the key assumption that a continuous history can be traced back from before modern plays to the relevant era. However, in contrast with other customs, no evidence can be found for these plays before the 18th century, despite diligent searching. These theories are therefore disproved. Instead, it is proposed that the plays were attached in the early to mid 18th century to existing house-visiting customs. These were probably the source of the non-representational costumes that are sometimes worn. There is also evidence for the influence of the conventions of the English Harlequinade. The provenance of the scripts is unknown, but similarities between them suggest they ultimately derived from a single proto-text. A full-text database of 181 texts and fragments was built for investigation using cluster analysis, distribution mapping and other computerised techniques, some of which are novel. The cluster analysis has generated a new classification for the play texts that both confirms and extends the established typology. Comparison of the attributes of the clusters, aided by distribution mapping, has resulted in a putative genealogy for the plays that is presented for discussion. -
"This Is a Mummers' Play I Wrote": Modern Compositions and Their Implications
This is a repository copy of "This is a Mummers' play I wrote": Modern compositions and their implications. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/1636/ Conference or Workshop Item: Millington, Peter (2003) "This is a Mummers' play I wrote": Modern compositions and their implications. In: Mumming Traditions in Cross-Border and Cross-Community Contexts, 9-13 June 2003, Derry, Northern Ireland. (Submitted) Reuse See Attached Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ “This is a Mummers’ play I wrote”: Modern Compositions and their Implications “Mumming Traditions in Cross-Border and Cross-Community Contexts”, Derry, 9-13 June 2003 “This is a Mummers’ play I wrote” Modern compositions and their implications Dr. Peter Millington Honorary Research Associate, National Centre for English Cultural Tradition, University of Sheffield, Sheffield, S10 2TN, England Abstract It seems that may people feel compelled to rewrite folk plays. Working with a large sample of composed and adapted texts, the apparent personal and cultural motivations of these wannabe folk playwrights are explored. More specifically, this study examines the textual characteristics of the rewritten plays in an attempt to determine what it is that makes the authors think that they have written a mummers' play. These features are then compared with a historical database of “authentic” Quack Doctor plays. It is suggested that similar processes and criteria have existed throughout the history of the plays, and may indeed have been the prime factor in their evolution. -
Jo Carson's Contribution to the Swamp Gravy Recipe Debra Calhoun Jones
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Jo Carson's Contribution to the Swamp Gravy Recipe Debra Calhoun Jones Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES JO CARSON’S CONTRIBUTION TO THE SWAMP GRAVY RECIPE By Debra Calhoun Jones A Dissertation submitted to the Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2006 The members of the Committee approve the dissertation of Debra Calhoun Jones defended on April 26, 2006. ___________________________________ Karen Laughlin Professor Directing Dissertation ____________________________________ Stuart Baker Outside Committee Member ____________________________________ Hunt Hawkins Committee Member ____________________________________ Linda Saladin-Adams Committee Member ____________________________________ Jerrilyn McGregory Committee Member Approved: ________________________________ Hunt Hawkins Chair, Department of English The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS ABSTRACT iv INTRODUCTION 1 A BASE OF CARSON’S EARLIER WORKS 15 A CUPFUL OF ORAL HISTORY 45 A HELPING OF FOLKLIFE PLAY 62 A SPRINKLE OF SOUTHERN DRAMA 83 A DASH OF LIBERAL FEMINISM 100 A TABLESPOON OF COMMUNITY PERFORMANCE 128 CONCLUSION: A RECIPE WORTH REPEATING 153 BIBLIOGRAPHY 164 BIOGRAPHICAL -
Distant Book
A Distant Land to Roam Anglo-American songs and tunes from Texas to Maine MTCD516 1 Mountain Rangers Mellie Dunham’s Orchestra 2 Oh Molly Dear B F Shelton 3 Mountaineer’s Courtship Mr & Mrs Ernest V Stoneman 4 Wild Hog in the Woods Lonesome Luke & His Farm Boys 5 Ethan Lang Emry Arthur 6 Old Molly Hare Riley Puckett 7 Cat Man Blues Blind Boy Fuller 8 The Two Sisters Bradley Kincaid 9 Silly Bill The Hill Billies 10 The Fox Hunter’s Song Will Starks 11 Soldier, Will You Marry Me? Riley Puckett 12 Jimmie and Sallie The Dixon Brothers 13 The Export Girl Louisiana Lou 14 Hop Light Ladies Ernest V Stoneman and the Dixie Mountaineers 15 Two Babes in the Woods The Red Fox Chasers 16 Darby’s Ram Bascom Lamar Lunsford 17 Tom Sherman’s Barroom Dick Devall 18 Money Musk Medley John Batzell 19 Fair Ellen Bradley Kincaid 20 Little Glass of Wine The Stanley Brothers 21 Soldier’s Joy Taylor’s Kentucky Boys 22 The Railway Flagman’s Sweetheart Frank Jenkin’s Pilot Mountaineers 23 Leather Breeches Gid Tanner and His Skillet Lickers 24 The Nick Nack Song Ridgel's Fountain Citians 25 Wind the Little Ball of Yarn The Southern Melody Boys A Distant Land to Roam to America by the early European settlers. And so I approached Rod Stradling, suggesting that we might Anglo-American Songs & Tunes issue some of these recordings so that they could from Texas to Maine become better available to a British audience. The result is A Distant Land to Roam, a show case for twenty-five of the greatest recordings ever made of Introduction. -
Folk Element in Girish Karnad's Hayavadana And
RESEARCH ARTICLE FOLK ELEMENT IN GIRISH KARNAD’S HAYAVADANA AND NAGAMANDALA Dr. Venkata Ramani. Challa (Associate Professor, Department of English, K.L.E.F (Deemed to be University) Guntur-522502, India.) ABSTRACT The contemporary Indian drama has developed in leaps and bounds. Our modern Indian dramatists have made bold innovations and fruitful experiments which go into the history of Indian drama as the most significant mark of achievement. Indian drama written by Indian playwrights makes immense use of tradition, myths, legends and folklore. Girish Karnad’s plays vividly epitomize this trend. The current research paper deals with the folklore, which is often a dramatic representation of a myth or a legend, accompanied by song and music. According to Girish Karnad, Nagamandala is based on two folk tales from Karnataka. Though it is only a folk-tale, it highlights the necessity of passing one’s knowledge on to others, because culture can be enriched only through sharing and transmitting it. Hayavadana on the other hand is influenced by Thomas Mann’s The Transposed Heads, which in turn is borrowed from one of the Sanskrit Kathasaritasagara stories. Culture defines society and Karnad’s plays are a reflection of the culture in our society. Focusing on our folk culture, he takes inspiration from mythology and folklore. Keywords: Folklore, Mythology, Legends, Reflection of the Culture. Citation: APA Challa, V.R. (2018) Folk Element in Girish Karnad’s Hayavadana and Nagamandala. Veda’s Journal of English Language and Literature- JOELL, 5(2), 256-261. MLA Challa,Venkata Ramani. “Folk Element in Girish Karnad’s Hayavadana and Nagamandala.”Veda’s Journal of English Language and Literature JOELL, Vol.5, no.2, 2018, pp.256-261. -
The Folk Interlude: Dramatic Aspects of Traditional Games, Gambols and Songs
Folk Drama Studies Today - International Traditional Drama Conference 2002 The Folk Interlude: Dramatic Aspects of Traditional Games, Gambols and Songs Thomas Pettitt (This is a prose version of the conference presentation, which was based on notes: it includes some material omitted on that occasion to comply with time constraints. There are also one or two adjustments in response to points raised in discussion. The “Appendix” referred to is identical with the circulated handout.) This paper represents a shift in my work on traditional drama, or perhaps a return to an aspect glanced at many years ago and since neglected. A lot of my work - most of my presentations at these conferences; most of my publications in this field (cf. the bibliography at the beginning of the appendix) - has been on the mummers' plays: on the history, or indeed on the origins of the mummers' plays. I have now taken this line of thought as far as it can go on the basis of currently available historical evidence, and published my finding in their latest form in item 12 in the bibliography (in the journal Medieval English Theatre): the mummers' plays were born when a cluster of traditional, seasonal, perambulatory shows (it is convenient, but inaccurate, to call them “mummings”) acquired a distinctly dramatic item - let's call it the “play” - probably sometime in the late-sixteenth or early seventeenth century. A mummers' play is a mumming with a play in it (except that it's not really a mumming and not really a play). But I have not come here today to argue that thesis anew: Rather to move on to the history of traditional, dramatic performances occurring under customary auspices other than the seasonal perambulation/house-visit. -
CONTENTS COUNTRY 1971 No
CONTENTS COUNTRY 1971 No. 4 Published by: COUNTRY DANCE AND SONG SOCIETY Articles OF AMERICA DANCE DOWN THE OUTSIDE: DANCES OF NEW ENGLAND TODAY EDITOR ASSOCIATE EDITOR Dudley Laufman •..•.•.•••••••••• 3 Jim Morrison May Gadd WILLIAM WELLS AND THE BAMPTON MORRIS An Interview ••••••••••••••••••• 9 AND COUNTRY DANCE AND SONG is pub TRIBUTE TO GEORG BIDSTRUP lished annually. Subscription is Raymond F. McLain .•••••••••••• 13 by membership in the Society. 30 DAYS WONDER: A DANCER'S TOUR THROUGH ENGLAND Members also receive three news J~ MOrrison •.•••.••.•••...••• 15 SONG letters each year. SOME THOUGHTS ON NOTATING FOLK DANCE Mireille Backer ••••••••••••••• 29 Annual dues are $8.00 NOTES FROM A FIDDLER Libraries, Educational Organiza Andrew Woolf ••••.••••••••••••• 35 tions, and Undergraduates $5.00 New Dances Please send inquiries and subscriptions to: TED'S TRIPLETS Ted Sannella ••..••.••.•.•••••. 31 Country Dance and Song Society, 55 Christopher Street, New HILL HOUSE ............................•.. 46 York, N. Y. 10014 I we are always glad to receive articles for publication in this Poems magazine dealing with the past, present or future of tradition SONNET Marshall Barron ••••••••••••••• 28 al dance and song in England and America, or on related topics Dudley Laufman •••••••••••••••• 34 of inte _at to country dancers. GULI..'3 & CROWS Photo Feature PHOTO CREDITS: P. 3 Suzanne Szasz P. 8 Courtesy of EFDSS DANCING ACROSS THE UNITED STATES ••••••••••••••••••••••• 23 P. 12 Courtesy of EFDSS P. 13 Courtesy of John c. Campbell Reviews Folk School P. 17 Kathleen Mitchell FOLK MUSIC OF BRITAIN AND BEYOND P. 23 (upper) Mildred Dickenson - -- - ReViewed by Judith Davidoff •••• 41 P. 23 (lower) Lyrl Peterson P. 24-25 1971 FOLK RECORDINGS IN RETROSPECT Lyrl Peterson Stan Leventhal •••••••••••••••• 42 P. -
Morris Matters Vol 20 Issue 1
Volume:20 Number 1. orris' allers MorrisMatters. Volume 20. Number1 Januan,2001 Contents of Volume 20, Number 1 Useful source material ( 1) 3 Oxford Dictionary of Folklore - review by Roy Dommett What I Did on my Holidays - a Sidmouth Review 6 by Rhian Collinson Eight Days Wonder - in print 8 Tradition from the Bare Bones 9 by Chas Marshall Beyond the Black Book with Berkshire Bedlam 17 by Jameson Wooders Pub Morris 22 Useful source material (2) 23 Chipping Campden - collected comments by Keith Chandler Letters 27 Morris Matters is published twice a year by Beth Neill 27 Nortoft Road, Chalfont St Peter, Bucks SL9 OLA; phone 01494 871465 Subscriptions are £5 for two issues (EU countries; or £7 outside these areas) published in January and July. Please make cheques or postal orders payable to Morris Matters Thanks to Jill Griffiths for help in checking text and to Steve Poole for getting it all printed out OK. MorrisMatters. Volume 20. Number 1 Januan,2001 EDITORIAL This issue we are trying something new - colour pictures. It all started when I realised that one of the featured teams would not come out very well in black and white (see the pictures and you'll see why!) so - into the unknown with colour reproduction. Thanks to Jeff Bates, Chas Marshall and Malcolm Major for supplying the pictures in various formats; I have had to learn all about the differences ( or not) between jpg and tif files and discover which ones just cause my printer to give up in despair. Having said that, now the process has been set in motion, if any other teams would like a bit of self-profiling and have got some good photos - especially if you go back a few years .. -
Wassailing in South Yorkshire
Wassailing in South Yorkshire RUAIRIDH GREIG Seasonal house-visiting customs are a fascinating part of our traditional popular culture. The formal visit to a house by an individual or group at a “special” time of year, with some form of performance, ranging from the most complex mummers’ play or sword dance to the simplest rhyme, has been found throughout these islands and beyond, with evidence dating back to at least the eighteenth century. Those customs that have attracted most scholarly attention have, naturally, been those showing the most complex characteristics. The mummers’ play with its variety of characters, substantial text, use of costume and disguise and dramatic action is the prime example, having received more scholarly attention than any other. The intrinsic interest of the mummers’ play has made it the target of many far-fetched theories of origin which have in recent times been largely discarded. It was partly with the intention of challenging these theories that I embarked on my study of seasonal house visiting customs in 1973.1 I was interested to find more about the whole genre – to see how different types of house-visit might be distributed and co-exist in a defined geographical area, within South and West Yorkshire, and how their success or failure could be influenced by external factors such as audience reaction, settlement patterns, and topographical features. Data was gathered through postal questionnaires, through local schools and appeals in local newspapers and on local radio. By far the most successful means of gathering information was by personal visits to the selected communities and talking to people whenever and wherever they could be found. -
Beginners' Guide to English Folk Drama
Beginners’ Guide to English Folk Drama By Steve Roud Unlocking hidden treasures of England’s cultural heritage Explore | Discover | Take Part The Full English The Full English was a unique nationwide project unlocking hidden treasures of England’s cultural heritage by making over 58,000 original source documents from 12 major folk collectors available to the world via a ground-breaking nationwide digital archive and learning project. The project was led by the English Folk Dance and Song Society (EFDSS), funded by the Heritage Lottery Fund and in partnership with other cultural partners across England. The Full English digital archive (www.vwml.org) continues to provide access to thousands of records detailing traditional folk songs, music, dances, customs and traditions that were collected from across the country. Some of these are known widely, others have lain dormant in notebooks and files within archives for decades. The Full English learning programme worked across the country in 19 different schools including primary, secondary and special educational needs settings. It also worked with a range of cultural partners across England, organising community, family and adult learning events. Supported by the National Lottery through the Heritage Lottery Fund, the National Folk Music Fund and The Folklore Society. Produced by the English Folk Dance and Song Society (EFDSS), June 2014 Written by: Steve Roud Edited by: Frances Watt Copyright © English Folk Dance and Song Society and Steve Roud, 2014 Permission is granted to make copies of this material for non-commercial educational purposes. Permission must be sought from EFDSS for any other use of this material. -
THE COUNTRY DANCER Is Published Twice a Year
The magazine of Calendar of Events THE COUNTRY DANCE SOCIETY OF AMERICA December 12, 1959 COUNTRY DANCE SOCIETY OF AMERICA EDITOR CECIT. SHARP CENTENNIAL CHRISTMAS FESTIVAL THE May Gadd Hunter College, New York. 8 to 12 p.m. ASSISTANT EDITORS December 19, 1959 COUNTRY DANCE SOCIETI - BOOTON CENTRE A. C. King Maxwell Reiskind Cl!nlL SHARP CENTENNIAL CHRIS'mAS PARTI counTRY Old South Church, Boston. 8 p.mo CONTRIBUTING EDITORS Penn Elizabeth Schrader Evelyn K. Wells Dec. 27 - Jan. 1 CHRISTMAS COUNTRY DANCE SCHOOL DAnCER J. Donnell Tilghman Roberta Yerkes Berea Gollege, Berea, Kentucky ART EDITOR January 6, 196o C.D.S. NEW YORK WINTER SERIES OPBNS Genevieve Shimer Wednesday Dance Evenings with instruction Month~ Square and Country Dance Parties THE COUNTRY DANCER is published twice a year. Subscription is February 1960 NATIONAL C.D.S. THEATER BENEFIT IN NEW YORK py membership in the Country Dance Society of America (annual Details to be announced dues $5, educational institutions and libraries $3.) Inquiries and subscriptions should be sent to the Secretary, Country Dance April 7 - 10 MOUNTAIN FOLK FESTIVAL at Berea College, Ky. Society of America, 55 Christopher Street, New York 14, N.Y. April 30 .2!: May 7 C.D.S. SPRING FESTIVAL in New York Tel: ALgonquin 5-8895. Copyright 1959 by the Country Dance Society Inc. August 7 to 28 C.D.S. at P!NE)l0000 CAMP, Buzzards Bay, Mass. See page 29 for account of last summer's Dance Weeks. The Spring Country Dancer ldll d·escribe Folk Music Week. Table of Contents PICTURE CREDI'IS.