WARD, THEODORE, 1902-1983. Theodore Ward Collection, 1937-2009
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Want to Start a Revolution? Gore, Dayo, Theoharis, Jeanne, Woodard, Komozi
Want to Start a Revolution? Gore, Dayo, Theoharis, Jeanne, Woodard, Komozi Published by NYU Press Gore, Dayo & Theoharis, Jeanne & Woodard, Komozi. Want to Start a Revolution? Radical Women in the Black Freedom Struggle. New York: NYU Press, 2009. Project MUSE., https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/10942 Access provided by The College Of Wooster (14 Jan 2019 17:31 GMT) 4 Shirley Graham Du Bois Portrait of the Black Woman Artist as a Revolutionary Gerald Horne and Margaret Stevens Shirley Graham Du Bois pulled Malcolm X aside at a party in the Chinese embassy in Accra, Ghana, in 1964, only months after hav- ing met with him at Hotel Omar Khayyam in Cairo, Egypt.1 When she spotted him at the embassy, she “immediately . guided him to a corner where they sat” and talked for “nearly an hour.” Afterward, she declared proudly, “This man is brilliant. I am taking him for my son. He must meet Kwame [Nkrumah]. They have too much in common not to meet.”2 She personally saw to it that they did. In Ghana during the 1960s, Black Nationalists, Pan-Africanists, and Marxists from around the world mingled in many of the same circles. Graham Du Bois figured prominently in this diverse—sometimes at odds—assemblage. On the personal level she informally adopted several “sons” of Pan-Africanism such as Malcolm X, Kwame Nkrumah, and Stokely Carmichael. On the political level she was a living personification of the “motherland” in the political consciousness of a considerable num- ber of African Americans engaged in the Black Power movement. -
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. -
Aberdeen, S.Dak.: Bakeries In, 282–300; Churches In, 256N3, 287
Copyright © 2019 South Dakota State Historical Society. All Rights Reserved. INDEX Aberdeen, S.Dak.: bakeries in, 282–300; churches Fall of Lillian Frances Smith: revd., 324, 326 in, 256n3, 287; historic district in, 283n3; hospital Amerikan Suomalainen, 267 in, 23; immigration to, 257, 259, 283–84; railroads Anarchy U.S.A. (film), 188 in, 282–83; schools in, 9, 23; and WWI, 1–31 Anderson, Timothy G.: book by, revd., 80, 82 Aberdeen American- News, 291, 293, 296, 297–98, Anderson, William: blog post by, 75–77 300 Anglo- Ashanti Campaign, 105n36 Aberdeen Daily American, 3–4, 20, 21, 290 Anishinaabe Indians, 183 Aberdeen Daily News, 289, 292 Anti- communism, 188, 193 Aberdeen Democrat, 288 Apache Indians, 87 African Gold Coast, 105n36 Appeal to Reason, 238–39 Agrarianism, 223, 236–37, 243 Arapaho Indians, 87 Agriculture, 201; farm size and income, 228, 234; Arikara Indians, 200n1, 201–15, 219 grasshopper plagues, 74, 220, 224, 243, 246; and Army- Navy Nurses Act of 1947, 8n12 Great Depression, 220–48; Laura Ingalls Wilder Artesian, S.Dak., 235 and, 59–60, 70–72; and WWI, 222 Arviso, Vivian, 178 Agriculture Adjustment Act of 1933, 240 Ascension Presbyterian Church (Peever), 306–7 Aid to Dependent Children, 241 Ashley, William Henry, 213 Akwesasne Notes, 187, 192 Ashley Island, 202, 211 Alcantara (Franciscan nun), 316 Assimilation, 147, 177 Alcoholism, 181, 196. See also Prohibition Assiniboine River, 200n1 Alexander, Benjamin: book by, revd., 329 Assiniboin Indians, 116n48 Alexander I, 284 Associated Press, 38, 39 Allen, Eustace A., 27 Augur, Christopher C., 160 Almlie, Elizabeth J., 301 Augustana Swedish Lutheran Church, 255, 272–76, Alway, R. -
A Bibliography of Plays Written by Black Americans: 1855 to the Present. PUB DATE 74 NOTE 14P.; Prepared at Eastern Illinois University
DOCUMENT RESUME ED 096 676 CS 201 568 AUTHOR Whitlow, Roger, Comp. TITLE A Bibliography of Plays Written by Black Americans: 1855 to the Present. PUB DATE 74 NOTE 14p.; Prepared at Eastern Illinois University EDRS PRICE MF-$0.75 HC-$1.50 PLUS POSTAGE DESCRIPTORS *American Literature; *Bibliographies; *Drama; Higher Education; Negro Culture; *Negro Literature; Nineteenth Century Literature; Twentieth Century Literature ABSTRACT This 342-item alphabetized bibliography of plays by black Americans covers the period from 1855 to the present. Some of the playwrights and their works are Paul L. Dunbar's "Uncle Eph's Christmas," 1905; James V. Johnson and Bob Cole's "The Shoo-Ply Regiment," 1907; Lorraine Hansberry's "A Raisin in the Sun," 1959; James Baldwin'$ "Blues for Mr. Charlie," 1964; Ed Bullins' "In New england Winter," 1967; Le Roi Jones' (Isamu Amiri Baraka) "Dutchcan" and "The Slave," 1964; and Ossie Davis' "Purlie Victorious," 1961. Some of the plays included have never beer published. (SW) DEpaRTmENToc HEALTH EDUCATION WELFARE NATIONALtNStiTUTEOF IcOUCTION mr FIE% AA , ' WE I t. 14,1%. PE cp-% QC!, ...t% :Fc .:. h PO ti' .I 0, . oht, ...1'k,,,e` h- hFE ,: wr Pro Eti* OFF ( AL NA' '1- D.10.4 ., ' A BIBLIOGRAPHY OF PLAYS WRITTEN BY BLACK AMERICANS: 1855 TO THE PRESENT 'PERMISSION TO REPRODUCE THIS COPY. RIGHTED MATERIAL HAS BEEN GRANTED Compiled by Roger Whitlow Roger Whitlow .. TO ERICAND ORGANIZATIONS OPERATING Assistant Professor of English UNDER AGREEMENTS WITH THE NATIONAL IN STITUTE OF EDUCATION FURTHER REPRO. Eastern Illinois University DUCTION OUTSIDE THE ERIC SYSTEM RE. QUIRES PERMISSION OFTHE COPYRIGHT Charleston, Tllinois 61920 OWNER Aldridge, Ira rrederick A GLANCE AT THE LIFE OF IRA FREDERICK ALDRIDGE. -
Hall Johnson's Choral and Dramatic Works
Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Wittmer, Micah. 2016. Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939). Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:26718725 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) A dissertation presented by Micah Wittmer To The Department of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Music Harvard University Cambridge, Massachusetts January, 2016 © 2016, Micah Wittmer All rights reserved. Dissertation Advisor: Professor Carol J. Oja Micah Wittmer -- Performing Negro Folk Culture, Performing America: Hall Johnson’s Choral and Dramatic Works (1925-1939) Abstract This dissertation explores the portrayal of Negro folk culture in concert performances of the Hall Johnson Choir and in Hall Johnson’s popular music drama, Run, Little Chillun. I contribute to existing scholarship on Negro spirituals by tracing the performances of these songs by the original Fisk Jubilee singers in 1867 to the Hall Johnson Choir’s performances in the 1920s-1930s, with a specific focus on the portrayal of Negro folk culture. -
The Creation of Identity in the Radicial Plays of Langston Hughes
BLACK OR RED?: THE CREATION OF IDENTITY IN THE RADICIAL PLAYS OF LANGSTON HUGHES A dissertation submitted by Catherine Ann Peckinpaugh Vrtis In partial fulfillment of the requirements for the degree of Doctor of Philosophy in Drama TUFTS UNIVERISITY May, 2017 ADVISOR: Downing Cless © 2017, Catherine Vrtis i ABSTRACT Langston Hughes, despite his reputation as the measure of an “authentic” black identity in art, was self-consciously performative in his creation of self through his writing. While this is hidden in most of his work due to his mastery of the tropes of “writing race,” the constructed nature of his public personae is revealed through his profound shift of artistic position, from primarily racially focused to primarily class oriented and Communist aligned, during the decade of the 1930s. As demonstrated by his radical works, Hughes’ professional identities were shaped by competing needs: to represent his sincere political beliefs and to answer the desires of his audiences. As he supported himself exclusively through his writing, Hughes could not risk alienating his publishers, but he was also not willing to support any ideology for profit. His radical plays, more so than his other Red writing, track Hughes’ negotiation of this tension during his Communist years. Hughes already had sympathies with the Communist cause when he broke with his patron, Charlotte Mason, at the beginning of the Great Depression, and instability of the period only deepened his radicalism. Freed from her expectations and in need of an audience, Hughes sharply shifted his public and artistic persona, downplaying his “Negro Poet Laureate” identity to promote his new Red one. -
THE 3231: Section AAHP / Fall 2021 African-American Theatre History and Practice Class Meeting Time - MWF Per
Af. Am. Theatre– Fall 2021 Page 1 University of Florida - College of the Arts - School of Theatre and Dance THE 3231: Section AAHP / Fall 2021 African-American Theatre History and Practice Class Meeting Time - MWF Per. 4 (10:40 - 11:30) / CON 0219 Dr. Mikell Pinkney / Office: 222 McGuire Pavilion / 273-0512 / [email protected] Office Hours: Mon. 1:00 - 2:45PM & Wednesday by appointment. Course Content: An investigation and examination of the historical origins and development of theatre by, for and about Black/ African Americans from the late 18th Century through the end of the 20th Century. The course examines theatre from an historical, philosophical, ethnic and racial perspective and provides a theoretical understanding of cultural studies and sociological influences on and within a larger American society as created and represented for, about, by and through the perspectives of Black-Americans, highlighting a systematic move form cultural margin to mainstream theatrical practices and acknowledgements. Objectives and Outcomes: Students will learn the historical contexts of playwrights, performers, theorists & theoretical concepts, productions and organizations that help to identify African-American Theatre as an indigenous American institution. Terminology and concepts of cultural studies are used as a means for access and critical thinking about the subject. Discussions are developed through readings, lectures, videos, and analysis of dramatic literature of the field. Two tests, a mid-term exam, a group presentation and a final paper are required to access competence, communication and critical thinking skills. Student Learning Objectives: 1. Students identify and analyze key elements, biases and influences that shape thought within the discipline (Critical Thinking) 2. -
Richard Wright and William Faulkner's Racial Imaginations
Violent Disruptions: Richard Wright and William Faulkner's Racial Imaginations The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Chavers, Linda Doris Mariah. 2013. Violent Disruptions: Richard Wright and William Faulkner's Racial Imaginations. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11169797 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA VIOLENT DISRUPTIONS: WILLIAM FAULKNER AND RICHARD WRIGHT’S RACIAL IMAGINATIONS A dissertation presented by Linda Doris Mariah Chavers to The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of African and African American Studies Harvard University Cambridge, Massachusetts September 2013 © 2013 Linda Doris Mariah Chavers All Rights Reserved. Dissertation Advisor: Professor Werner Sollors Linda Chavers Violent Disruptions: William Faulkner and Richard Wright’s Racial Imagination Abstract Violent Disruptions contends that the works of Richard Wright and William Faulkner are mirror images of each other and that each illustrates American race relations in distinctly powerful and prescient ways. While Faulkner portrays race and American identity through sex and its relationship to the imagination, Wright reveals a violent undercurrent beneath interracial encounters that the shared imagination triggers. Violent Disruptions argues that the spectacle of the interracial body anchors the cultural imaginations of our collective society and, as it embodies and symbolizes American slavery, drives the violent acts of individuals. -
Articles 2015 年 6 月 第 48 巻
日本大学生産工学部研究報告B Articles 2015 年 6 月 第 48 巻 Wright and Hughes: Chicago and Two Major African American Writers Toru KIUCHI* and Noboru FUKUSHIMA* (Received December 16, 2014) Abstract The Chicago Renaissance has long been considered a less important literary movement for American modernism than the Harlem Renaissance. The differences between the two movements have to do not only with history, but with aesthetics. While the Harlem Renaissance began in the 1920s—flourishing during the decade, but fading during the 30s in the throes of the Depression—the Chicago Renaissance had its origin in the turn of the nineteenth century, from 1890 to 1920, gathering momentum in the 30s, and paving the way for modern and postmodern realism in American literature ever since. Theodore Dreiser was the leader for the first period of the movement, and Richard Wright was the most influential figure for the second period. The first section of this article will examine not only the continuity that existed between the two periods in the writers’ worldviews but also the techniques they shared. To portray Chicago as a modern, spacious, cosmopolitan city, the writers of the Chicago Renaissance sought ways to reject traditional subject matter and form. The new style of writing yielded the development of a distinct cultural aesthetic that reflected ethnically diverse sentiments and aspirations. The panel discussion will focus on the fact that while the Harlem Renaissance was dominated by African American writers, the Chicago Renaissance thrived on the interactions between African and European American writers. Much like modern jazz, writings in the Chicago Renaissance became the hybrid, cross-cultural product of black and white Americans. -
Scientific and Cultural Conference for World Peace
REVIEW OF THE SCIENTIFIC AND CULTURAL CONFERENCE FORWORLD PEACE ARRANGED BY THE NATIONAL COUNCIL O~ THE ARTS, SCIENCES AND PROFESSIONS AND HELD IN NEW YORK CITY ON MARCH 25, 26, and 27, 1949 APRIL 19, 1949 Prepared and released by the COMMITTEE ON UN-AMERICAN ACTIVITIES, U. S. HOUSE OP REPRESENTATIVES WASHINGTON, D. C. COMMITTEE ON"UN';A:MERICAN' ACTIVITIES, UNITED STATES HOUSE OF REPRESEKTJ\TIVES JOHN B.WOOD, Georgia, Chairman FRANCISE. WALTER, Pcnnsyivanla J. PARNELL THOMAS, New]ersey BURR P. HA.RRISON,Virglnin RICHARD M. NIXON, California JOHN McSWEENEY, Ohio FRANCIS CA.SE, SouthDakota MORGAN M. MOULDER, Missouri HAROLD H. VELDE, illinois LOUIS J. RUSSELL, Senior. IflIJe&tioatoT :attNl~~nNMANDEL, Direclor: Of lU8earch JOlIN W. CARRINGTON, Olerk Of Comrn!t(ie II ~ ... " :... X" ~.~ ...... \" .', - . / A REVIEW OF THE SCIENTIFIC AND CULTURAL CONFERENCE FOR WORLD PEACE ARRANGED BY THE NATIONAL COUN CIL OF THE ARTS, SCIENCES, AND PROFESSIONS AND HELD IN NEW YORK CITY ON MARCH 25, 26,. AND 27, 1949 Parading under the imposing title of the Scientific and Cultural Conference lor World Peace the gathering at the Waldorf~A~toria 'Hotel in New York City on 1tlarch 25, 26, and 27, 1949, was actually a supermabilization of the inveterate wheelhors~s and supporters of the Communist Party and' its auxiliary organizations. It was in a sense a glorified pyramid club, pyramiding into one inflated front the names which had time and again been used by the' Communists as. decoys for the entrapment of innocents. The Communist-front connections of these sponsors, as reflected by the tabulation in this report, are very extensive. -
Dreaming America
DREAMING AMERICA Popular Front Ideals and Aesthetics in Children’s Plays of the Federal Theatre Project LESLIE ElAINE FROST THE OHIO STATE UNIVERSITY PRESS | COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Frost, Leslie Elaine. Dreaming America : popular front ideals and aesthetics in children’s plays of the Federal Theatre Project / Leslie Elaine Frost. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1213-4 (cloth : alk. paper) — ISBN 0-8142-1213-1 (cloth : alk. paper) — ISBN 978-0-8142-9314-0 (cd-rom) 1. Federal Theatre Project (U.S.) 2. American drama—20th century—History and criticism. 3. Children’s plays, American—History and criticism. I. Title. PS351.F76 2013 812'.5099282—dc23 2012032475 Cover design by Laurence J. Nozik Type set in Adobe Minion Pro and Poppl-Laudatio Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations v Acknowledgments vii INTRODuctION Children’s Theatre of a People’s Theatre 1 CHAPTER 1 Federal Theatre Project Dreams: Raising an Educated Audience for a Permanent American National Theatre 23 CHAPTER 2 “We Should Have Called It Rumpelstiltskin”: A Labor Fairy Tale Gets Real in The Revolt of the Beavers 43 CHAPTER 3 “I Looked Him Right Square in the Eye”: Being African American in The Story of Little Black Sambo 71 CHAPTER 4 “Shadows of Your Thoughts Are Marching”: Anti-Fascism and Home-front Patriotism in Federal Theatre’s A Letter to Santa Claus and Hollywood’s The Little Princess 108 CHAPTER 5 Wishing on a Star: Pinocchio’s Journey from the Federal Stage to Disney’s World 128 CONCLusION Death of a Dream 140 Notes 149 Works Cited 177 Index 188 ILLUSTRATIONS FIGURE 1. -
Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts
University of Massachusetts Boston ScholarWorks at UMass Boston American Studies Faculty Publication Series American Studies 5-2017 Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts Judith E. Smith University of Massachusetts Boston, [email protected] Follow this and additional works at: https://scholarworks.umb.edu/amst_faculty_pubs Part of the African American Studies Commons, American Studies Commons, Theatre History Commons, and the Women's Studies Commons Recommended Citation Smith, Judith E., "Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts" (2017). American Studies Faculty Publication Series. 14. https://scholarworks.umb.edu/amst_faculty_pubs/14 This Conference Proceeding is brought to you for free and open access by the American Studies at ScholarWorks at UMass Boston. It has been accepted for inclusion in American Studies Faculty Publication Series by an authorized administrator of ScholarWorks at UMass Boston. For more information, please contact [email protected]. Finding a New Home in Harlem: Alice Childress and the Committee for the Negro in the Arts |Paper presented for a panel, “Home Matters,” at the American Literature Association Conference, Boston MA, May 25-28, 2017 Judith E. Smith American Studies University of Massachusetts Alice Childress’s performing career in the 1940s was primarily associated with the American Negro Theater, a collectively run professional theater company with a mission to nurture black talent and create compelling theater for Harlem audiences; as Childress would later comment, “We thought we were Harlem’s theater.” ANT made use of all available resources to accomplish this mission; producing plays written by black and white playwrights, hiring white teachers, and accepting white actors and technicians committed to its goals.