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Narratives of Interiority: Black Lives in the U.S. Capital, 1919 - 1942
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 5-2015 Narratives of Interiority: Black Lives in the U.S. Capital, 1919 - 1942 Paula C. Austin Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/843 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] NARRATIVES OF INTERIORITY: BLACK LIVES IN THE U.S. CAPITAL, 1919 – 1942 by PAULA C. AUSTIN A dissertation submitted to the Graduate Faculty in History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2015 ©2015 Paula C. Austin All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in History in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ________________ ____________________________ Date Herman L. Bennett, Chair of Examining Committee ________________ _____________________________ Date Helena Rosenblatt, Executive Office Gunja SenGupta Clarence Taylor Robert Reid Pharr Michele Mitchell Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract NARRATIVES OF INTERIORITY: BLACK LIVES IN THE U.S. CAPITAL, 1919 – 1942 by PAULA C. AUSTIN Advisor: Professor Herman L. Bennett This dissertation constructs a social and intellectual history of poor and working class African Americans in the interwar period in Washington, D.C. Although the advent of social history shifted scholarly emphasis onto the “ninety-nine percent,” many scholars have framed black history as the story of either the educated, uplifted and accomplished elite, or of a culturally depressed monolithic urban mass in need of the alleviation of structural obstacles to advancement. -
Harlem Intersection – Dancing Around the Double-Bind
HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Judith A. Miller December, 2011 HARLEM INTERSECTION – DANCING AROUND THE DOUBLE-BIND Judith A. Miller Thesis Approved: Accepted: _______________________________ _______________________________ Advisor School Director Robin Prichard Neil Sapienza _______________________________ _______________________________ Faculty Reader Dean of the College Durand L. Pope Chand Midha, PhD _______________________________ _______________________________ Faculty Reader Dean of the Graduate School James Slowiak George R. Newkome, PhD _______________________________ Date ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………………. 1 II. JOSEPHINE BAKER – C’EST LA VIE …………………..…….…………………..13 III. KATHERINE DUNHAM – CURATING CULTURE ON THE CONCERT STAGE …………………………………………………………..…………30 IV. PEARL PRIMUS – A PERSONAL CRUSADE …………………………...………53 V. CONCLUSION ……………………………………………………………...……….74 BIBLIOGRAPHY ……………………………………………………………………… 85 iii CHAPTER I INTRODUCTION “Black is Beautiful” became a popular slogan of the 1960s to represent rejection of white values of style and appearance. However, in the earlier decades of the twentieth century black women were daily deflecting slings and arrows thrown at them from all sides. Arising out of this milieu of adversity were Josephine Baker, Katherine Dunham, and Pearl Primus, performing artists whose success depended upon a willingness to innovate, to adapt to changing times, and to recognize and seize opportunities when and where they arose. Baker introduced her performing skills to New York audiences in the 1920s, followed by Dunham in the 1930s, and Primus in the 1940s. Although these decades resulted in an outpouring of cultural and artistic experimentation, for performing artists daring to cross traditional boundaries of gender and race, the obstacles were significant. -
TEAGUE-DISSERTATION-2021.Pdf
BLACK-WHITE INEQUALITY THROUGH THE LENS OF RACE, CLASS, AND GENDER IN NORTH TEXAS 1880 – 1940 A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF SOCIOLOGY AND SOCIAL WORK COLLEGE OF ARTS AND SCIENCES BY HOLLIE A. TEAGUE DENTON, TEXAS MAY 2021 Copyright © 2021 by Hollie A. Teague ABSTRACT HOLLIE A. TEAGUE BLACK-WHITE INEQUALITY THROUGH THE LENS OF RACE, CLASS, AND GENDER IN NORTH TEXAS 1880 - 1940 MAY 2021 Utilizing the three-article format, this dissertation examines the severe inequalities related to race, class, and gender in North Texas from 1880 to 1940. The unifying theme of all three articles is the ways in which inequality was enforced in Black-White relations, including the role of creating and maintaining mainstream cultural memories. Each article investigates a different aspect of Black-White inequality and, while relating to the unifying theme, makes distinct contributions. The first article is a socio-historic examination of anti-Black police violence in North Texas from 1880 to 1930. Patterns of official dereliction of duty, misconduct, abuse, and murder are revealed to have had not only racial elements, but gendered and classed elements as well. The second article takes a comparative approach to a nonviolent community removal in Denton, Texas, and an extraordinarily violent destruction of a community in Tulsa, Oklahoma, both of which targeted economically successful Black neighborhoods and both of which were perpetrated by White Supremacists. Variations in Black resistance and the construction of local cultural memory are also explored. -
“When I Enter”: Black Women and Disruption of the White, Heteronormative Narrative of Librarianship
“When I Enter”: Black Women and Disruption of the White, Heteronormative Narrative of Librarianship Caitlin M. J. Pollock and Shelley P. Haley Only the Black Woman can say "when and where I enter, in the quiet, undisputed dignity of my womanhood, without violence and without suing or special patronage, then and there the whole Negro race enters with me." -Anna Julia Cooper, A Voice from the South Introduction As we began the research for this chapter, it soon became clear that Black women have always been integral to first literacy movements of the 1800s and later librarianship. It also became clear that literacy, social justice activism, and literary cultural production have always intersected for middle class, educated Black women. As Michelle Garfield points out, “The Philadelphia women who organized the Female Literary Association...hoped to engage in activities that would expand their own mental capabilities. Yet they also used these skills to engage actively in political discussions regarding slavery and the rights of blacks.”1 Most important was the drive to satisfy both the collective needs of their people and their own individual needs as gifted, educated women. Garfield puts it most succinctly, “These women 1 Michelle Garfield, “Literary Societies: The Work of Self-Improvement and Racial Uplift,” in Black Women’s Intellectual Traditions: Speaking Their Minds, ed. Kristin Waters and Carol B. Conaway (Burlington, VT: University of Vermont Press, 2007), 125. were not one-dimensional individuals.”2 These early literacy movements were also the beginning of the ideology of racial uplift and the obligation of the educated elite of Black America-- particularly women--to improving the lot of their less fortunate sisters and brothers.3 Even in the 19th and early 20th century, Black women negotiated race, gender, and class. -
Contested Boundaries : Race, Class and Gender in the Writings of Four
CONTESTED BOUNDARIES: RACE, CLASS AND GENDER IN THE WRITINGS OF FOUR HARLEM RENAISSANCE WOMEN By LILLIAN TEMU OSAKI 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 2000 Copyright 2000 by LILLIAN TEMU OSAKI To K.M.O ACKNOWLEDGMENTS By its very nature the task of writing a doctoral dissertation is seldom exclusively the effort of a single individual. I benefitted from the support and assistance of several institutions and many individuals. I gratefully thank them all. I acknowledge, with grateful appreciation, the four-year financial sponsorship I received from the Fulbright Scholarship Board. It was this support that enabled me to complete course work and begin research for this dissertation. I also wish to thank the University of Florida for granting me both academic affiliation and hospitality. The academic and social environment at UF made my stay memorable and fruitful. I also owe a debt of gratitude to the Center for African Studies, University of Florida, for the partial financial support they extended me in the final year of my studies. I especially wish to thank the center's director. Dr. Michael Chege, and the assistant director. Dr. Maria Grosz-Ngate, for their sympathetic understanding of my situation. Finally I wish to register my thanks to the University of Dar es Salaam for granting me a iv five-year study leave that enabled me pursue graduate studies at the University of Florida. Dr. Debra King, my supervisory chair, tops the list of those individuals who have greatly sharpened my critical awareness. -
Designing Progress: Race, Gender, and Modernism in Early Twentieth-Century America
Designing Progress: Race, Gender, and Modernism in Early Twentieth-Century America Jacqueline Susan Taylor Charlottesville, Virginia B.A. Hons. University of Warwick, 1983 M.A. University of Virginia, 2000 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Program in Art and Architectural History University of Virginia December 2014 © Copyright by Jacqueline Susan Taylor All Rights Reserved December 2014 ABSTRACT In the late 1930s Amaza Lee Meredith (1895-1984), an African American woman from Lynchburg, Virginia, designed and Built a modern style house for herself and her female companion on the grounds of Virginia State College. Between the wars, she studied at ColumBia Teacher’s College in New York, receiving a BA in Fine Art in 1930, and an MA in Art Education in 1935, under a curriculum designed By Arthur Wesley Dow. RemarkaBly, unlike many African Americans who relocated north to take advantage of training and employment opportunities, including those artists who sought the community support of Harlem’s cultural network, Meredith returned to the rural South. Here, at her alma mater, Virginia State College, where she had earned a teaching certificate in 1922, Meredith estaBlished the art department and implemented a progressive art curriculum, teaching art production and art appreciation. In addition, Amaza Lee Meredith practiced architecture as a personal and community endeavor, designing homes for friends and family and planning a vacation community for African Americans on Long Island’s Sag HarBor, once a whaling village and now a cosseted resort for African American elite. -
The Representation of African American Women in the Art And
“Women to the Rescue!”: The Representation of African American Women in the Art and Illustration of African American Harlem Renaissance Publication By Katherine Dahl University of Wisconsin Eau Claire Professor Robert Gough History 489 Capstone Spring 2011 Wright, Roscoe C, “Negro Womanhood.” In The Crisis, cover. January 1928. Reprinted in Art in Crisis: W.E.B. Du Bois and the Struggle for African American Identity and Memory, by Amy Helene Kirschke, 145. Bloomington: Indiana University Press, 2007. Copyright for this work is owned by the author. This digital version is published by McIntyre Library, University of Wisconsin Eau Claire with the consent of the author. i Abstract The “New Negro” was a concept created by Alain Locke, W.E.B Du Bois, and other African American intellectuals during the time of the Harlem Renaissance. This concept promoted the social uplift, greater equality, and the creation of a new identity from within the black community. Fine art and literary works promoted the creation of this new identity. The movement, however, was largely based on the concepts of the “New Negro” being male. This leads one to question, what was the woman‟s role in the Harlem Renaissance Movement? To what extent was she included? Were efforts made to change her social status and negate her segregation and discrimination? This essay will show that although sexism, racism, and classism are portrayed in her depiction, the “New Negro” female identity was present and promoted. This identity was associated with separate roles in the movement that attempted to conform to white middle class standards of patriarchy; nonetheless those tasks held importance and were celebrated in the African American woman‟s depiction in art and illustration. -
The R U T G E R S a . R T R E V I E W Published by the Graduate Students of the Department of Art History Rutgers, the State
The RUTGERS A.RT REVIEW Published by the Graduate Students of the Department of Art History Rutgers, The State University of New Jersey Volume 20 2003 Copyright ©2003 Rutgers, The State University of New Jersey All rights reserved Manufactured in the United States of America ISSN 0194-049X Typeset by Stacy Schultz Burger Ill Rutgers Art Review Volume 20 Editors Stacy Schultz Burger and Wendy Garland Schwartz Editorial Board Lisandra Estevez Erin Harden Ann Keen Pamela Margerm Mary Tinti Patricia Zalamea Jennifer Zarro Faculty Advisor Tod Marder The Rutgers Art Review is an annual journal published entirely by graduate students in the Department of Art History at Rutgers, The State University of New Jersey, assisted by faculty advisors from the department. The country's oldest journal of graduate scholarship in art history, RAR is dedicated to presenting original, scholarly research by current graduate students in the history of art, architecture, art criticism, and related fields. Articles appearing in RAR are abstracted and indexed online in America: History and Life, ARTbibliog- raphies Modern, the Avery Index to Architectural Periodicals, BHA (Bibliography of the History of Art), Historical Abstracts, and the Wilson Art Index. The journal is distributed by subscription to over ninety of the finest academic, museum, and public libraries in North America and Europe. For annual rates and more infor mation about RAR, please consult the subscription form at the back of this issue or visit our website at http://arthistory.rutgers.edu/rar/rar.htm. Published articles are selected by RAR's editorial board from a large group of submissions received each summer from students in graduate programs across the United States, Canada, and Europe.