Bulletin Insert

Total Page:16

File Type:pdf, Size:1020Kb

Bulletin Insert Frederick Frederick Asbury Cullen Asbury Cullen Community Activist and Community Activist and Pastor of Salem Church Pastor of Salem Church Image from Salem M.E. Church Program, Image from Salem M.E. Church Program, 1868-1946 Countee Cullen Papers, 1868-1946 Countee Cullen Papers, Amistad Research Center at Amistad Research Center at Tulane University, New Orleans, Louisiana Tulane University, New Orleans, Louisiana ev. Frederick A. Cullen was a community and civil rights ev. Frederick A. Cullen was a community and civil rights activist who played an important role in New York’s Afri- activist who played an important role in New York’s Afri- Rcan American community during his 40-year pastorate at Sa- Rcan American community during his 40-year pastorate at Sa- lem Methodist Episcopal Church in Harlem. lem Methodist Episcopal Church in Harlem. Originally from Maryland and born of slave parents, Cullen Originally from Maryland and born of slave parents, Cullen graduated from Morgan College and was ordained in 1900. He graduated from Morgan College and was ordained in 1900. He served his first church in Maryland successfully in spite of ini- served his first church in Maryland successfully in spite of ini- tial opposition to his appointment. He relocated to New York tial opposition to his appointment. He relocated to New York in 1902 where he was assigned to St. Mark’s, a predominantly in 1902 where he was assigned to St. Mark’s, a predominantly black congregation in New York City. He soon began work at black congregation in New York City. He soon began work at their Harlem storefront mission, then called Salem Chapel. their Harlem storefront mission, then called Salem Chapel. Cullen was well known for his youth ministry work, his de- Cullen was well known for his youth ministry work, his de- votion to his community and parishioners, and his leadership votion to his community and parishioners, and his leadership qualities. His work with neighborhood children to encourage qualities. His work with neighborhood children to encourage their parents to attend church led to the success of Salem Mis- their parents to attend church led to the success of Salem Mis- sion, which became independent in 1908 and whose sion, which became independent in 1908 and whose (over) (over) (Frederick Asbury Cullen, cont.) (Frederick Asbury Cullen, cont.) membership numbered more than 4,000 at his retirement. membership numbered more than 4,000 at his retirement. He worked consistently for social justice, serving as president He worked consistently for social justice, serving as president of the Harlem branch of the NAACP. On a personal level, he of the Harlem branch of the NAACP. On a personal level, he encouraged many youth to enter the Christian ministry and to encouraged many youth to enter the Christian ministry and to pursue other careers. He and his wife Carolyn were the adoptive pursue other careers. He and his wife Carolyn were the adoptive parents of Harlem Renaissance poet Countee Cullen. parents of Harlem Renaissance poet Countee Cullen. For Discussion For Discussion • Rev. Cullen focused on outreach to children to encourage • Rev. Cullen focused on outreach to children to encourage families to attend church. What might your chuch do to reach families to attend church. What might your chuch do to reach out in this way? For example, how might you design a Vaca- out in this way? For example, how might you design a Vaca- tion Bible School that would successfully invite families into tion Bible School that would successfully invite families into your church? your church? • Rev. Cullen stayed at the same church for 40 years. What • Rev. Cullen stayed at the same church for 40 years. What are the pluses and minuses of such a long pastorate? What are the pluses and minuses of such a long pastorate? What are the positives and negatives of moving ministers to new are the positives and negatives of moving ministers to new churches every few years? churches every few years? New York Annual Conference New York Annual Conference Commission on Archives and History Commission on Archives and History C. Wesley Christman Archives C. Wesley Christman Archives [email protected] - 914-615-2241 [email protected] - 914-615-2241 © 2016 NYAC Commission on Archives and History © 2016 NYAC Commission on Archives and History.
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • HARLEM in SHAKESPEARE and SHAKESPEARE in HARLEM: the SONNETS of CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, and GWENDOLYN BROOKS David J
    Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 5-1-2015 HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS David J. Leitner Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/dissertations Recommended Citation Leitner, David J., "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS" (2015). Dissertations. Paper 1012. This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS by David Leitner B.A., University of Illinois Champaign-Urbana, 1999 M.A., Southern Illinois University Carbondale, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Department of English in the Graduate School Southern Illinois University Carbondale May 2015 DISSERTATION APPROVAL HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS By David Leitner A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of English Approved by: Edward Brunner, Chair Robert Fox Mary Ellen Lamb Novotny Lawrence Ryan Netzley Graduate School Southern Illinois University Carbondale April 10, 2015 AN ABSTRACT OF THE DISSERTATION OF DAVID LEITNER, for the Doctor of Philosophy degree in ENGLISH, presented on April 10, 2015, at Southern Illinois University Carbondale.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Module 2 Year 9: the Harlem Renaissance Half Term 1
    Module 2 Year 9: The Harlem Renaissance Half Term 1 Name: Teacher: 1 The Harlem Renaissance Autonomy If a person or group has autonomy, they Protesters demanded local autonomy last (noun) have the power to control what they do. month. Subjugation If there is subjugation of a group of people, Their subjugation led to feelings of hopelessness. (noun) they have been totally controlled. Most consider the beginning of the Harlem Renaissance to be around 1914. The Harlem Renaissance was rooted in the end of the Reconstruction era, when legal segregation made living conditions for African Americans in the South unbearable. The lack of economic opportunities, and, more importantly, the prevalence of racism, prejudice, lynching, and segregation in public spaces all contributed to the intolerable conditions of African Americans. The Great Migration and the Great War When the U.S. entered World War I in 1917, jobs previously held by white workers suddenly became available, and industrial expansion in the North provided opportunities for African Americans to seek a new lifestyle. Hundreds of thousands of black people migrated from the South into dense Northern urban areas that offered relatively more economic opportunities and cultural capital. They settled in various northern cities during this Great Migration, though New York City was the most popular, particularly the district of Harlem. It was, in the words of editor, journalist, and critic Alain Locke, “a spiritual coming of age” for African American artists and thinkers, who seized upon their “first chances for group expression and self-determination”. Locke said that this move was a “deliberate flight not only from countryside to city, but from medieval America to modern”.
    [Show full text]
  • Harlem Renaissance Poetry Selections American Literature Name: ______
    Harlem Renaissance Poetry Selections American Literature Name: _________________________ Any Human to Another BY COUNTEE CULLEN The ills I sorrow at Not me alone Like and arrow, Unlike most other poets of his time, Cullen used traditional Pierce to the marrow, forms and methods. Through the fat And past the bone. He was born in New York City and graduated from New York University and later earned his master’s degree from Harvard. Your grief and mine Must intertwine Cullen was one of the leaders of the movement to construct an Like see and river, intellectual and aesthetic culture for blacks in America, Be fused and mingle, especially for those who had come from the South to New York Diverse yet single, City in the early 1900s. Forever and forever. In “Any Human to Another” notice the tension between words, Let no man be so proud images, and sentiments designed to deal explicitly with the And confident, African American eXperience and those designed to deal more To think he is allowed with universal eXperience. A little tent Pitched in a meadow Of sun and shadow All his little own. Joy may be shy, unique, Friendly to a few, Sorrow may be scorned to speak To any who Were false or true. Your every grief Like a blade Shining and unsheathed The Tropics in New York BY CLAUDE MCKAY In much of his work, McKay evokes the rich colors and the Bananas ripe and green, and ginger-root, rhythms of life on his native island of Jamaica. The son of poor Cocoa in pods and alligator pears, farm workers, McKay did not arrive in the U.S.
    [Show full text]
  • Corbould - Issue Four - Colloquy
    Corbould - Issue four - Colloquy "What is Modernism to me?" Individual Selves and Collective Identities in African-American Women's Writing, 1920-1935 Claire Corbould The brick wall that is any attempt to define "modernism" sent me running to the Oxford Companion to English Literature . Here I found that in an effort to break thoroughly with the past, modernist writing is characterised in part by an awareness of the unconscious and an interest in the presentation of personality. At the very least, it can be assumed that popular conceptions of modernist writing concern the "inner" self, its relationship or interaction with the "outer" self, and, more generally, the presentation of the individual [1] . Moreover, popular definitions of modernism ñin the USA as well as in Britain ñ continue to prioritise the avant-garde and experimentation with form. Perhaps the most famous examples are Molly Bloom and Alice B. Toklas. Bloom's "stream-of-consciousness" account which concludes James Joyce's Ulysses is taken as emblematic of modernist expression, and is cited as such by the Oxford Companion [2] . It is easy to see how, within such paradigms, the cultural production of the Harlem Renaissance has been neglected in the historical consideration of modernism. Nathan Huggins, in his important 1971 work, Harlem Renaissance, exemplifies this attitude in his discussion of the poetry of the period. Countee Cullen and Claude McKay, he argues, were hamstrung by their adherence to forms such as the sonnet. Such formalism, he argues, reflects a basic conservatism. Cullen, was, a "perfect example of a twentieth- century poet marching to a nineteenth-century drummer ..
    [Show full text]
  • '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.
    [Show full text]
  • Chapter One Introduction
    CHAPTER ONE INTRODUCTION BACKGROUND OF THE STUDY Racial discrimination is “to treat differently a person or a group of people based on their race origin” (“Racial Discrimination”) A clear example of discrimination towards black people in America in 1920’s is that “Kentucky required separate schools, and also that no text book would be issued to a black would ever be reissued or redistributed, they were also prohibited interracial marriage” (“Segregation”). Langston Hughes is a poet who gains fame “during the burgeoning of the arts known as the Harlem Renaissance” (Harper). Langston Hughes began to write in 1921 until 1954. In 1921, Hughes’ “The Negro Speaks of rivers,” was published in NAACP journal Crisis (“Langston Hughes Timeline”). Hughes’ first volume of poetry, The Weary Blues, appeared in 1926. A year later, Hughes’ second volume of poetry, Fine Clothes to the Jew, was published. In addition, Langston Hughes’ first novel, Not Without Laughter was published in 1930. In writing most of his poetry, Langston Hughes “uses the rhythms of African- 1 Maranatha Christian University American music particularly blues and jazz. This sets his poetry apart from that of other writers, and it allowed him to experiment with a very rhythmic free verse” (Langston Hughes Biography). Langston Hughes’ poems that I will discussin my thesis are “I Dream a World”, “Ruby Brown”, “Merry-Go-Round” and “A New Song”. I choose to analyze the four poems in my thesis since they closely deal with discrimination towards black people. Countee Cullen is a poet who attains fame “during the era known as the New Negro or Harlem Renaissance” (Early).
    [Show full text]
  • Jazz Epidemics and Deep Set Diseases: the De-Pathologization
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: English, Department of Department of English 5-2016 Jazz Epidemics and Deep Set Diseases: The e-D Pathologization of the Black Body in the Work of Three Harlem Renaissance Writers Shane C. Hunter University of Nebraska - Lincoln Follow this and additional works at: http://digitalcommons.unl.edu/englishdiss Part of the Feminist, Gender, and Sexuality Studies Commons, Literature in English, North America Commons, and the Literature in English, North America, Ethnic and Cultural Minority Commons Hunter, Shane C., "Jazz Epidemics and Deep Set Diseases: The e-PD athologization of the Black Body in the Work of Three Harlem Renaissance Writers" (2016). Dissertations, Theses, and Student Research: Department of English. 110. http://digitalcommons.unl.edu/englishdiss/110 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. JAZZ EPIDEMICS AND DEEP SET DISEASES: THE DE-PATHOLOGIZATION OF THE BLACK BODY IN THE WORK OF THREE HARLEM RENAISSANCE WRITERS by Shane Hunter A DISSERTATION Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Philosophy Major: English Under the Supervision of Professor Maureen Honey Lincoln, Nebraska May, 2016 JAZZ EPIDEMICS AND DEEP SET DISEASES: THE DE-PATHOLOGIZATION OF THE BLACK BODY IN THE WORK OF THREE HARLEM RENAISSANCE WRITERS Shane Hunter, Ph.D.
    [Show full text]
  • African-American Literature & Classics Writers
    African-American Literature & Classics Writers This list includes only a few of many African-American writers. Check the San Leandro Public Library’s online catalog or ask a librarian for further information on the subject. To discover more about African American writers, please visit ―African-American Writers: a Celebration‖ at www.mtsu.edu/~vvesper/afam.htm. ** Please note: some of these authors write about African American characters but are not African American. Angelou, Maya. And Still I Rise. 811.54 ANGELOU. Maya Angelou's third poetry collection, a unique celebration of life, consists of rhythms of strength, love, and remembrance, songs of the street, and lyrics of the heart. Baldwin, James. Going to Meet the Man. CLASSIC BALDWIN. A collection of eight short stories that explore with devastating frankness the roots of love, hate, and racial conflict. By turns haunting, heartbreaking, and horrifying, this is a major work by one of America's quintessential writers. Campbell, Bebe Moore. Brothers and Sisters. FIC CAMPBELL. Against a backdrop of post-riots Los Angeles, bank manager Esther Jackson, her coworker Mallory Post, and Humphrey Boone – the man who comes between them — must individually confront their fears and dreams. Chase-Riboud, Barbara. Echo of Lions. FIC CHASE-RIBOUD. A historical-fiction account relates the story of one group of individuals who beat incredible odds and changed the course of American history through the celebrated antebellum Amistad affair when African slaves rebelled and seized the slave ship. Dove, Rita. Selected Poems. 811.54 DOVE. The astonishing poems of the nation's 1993 to 1995 Poet Laureate -- the youngest poet so named, as well as the first African- American chosen for the position.
    [Show full text]