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Objectivity, Interdisciplinary Methodology, and Shared Authority
ABSTRACT HISTORY TATE. RACHANICE CANDY PATRICE B.A. EMORY UNIVERSITY, 1987 M.P.A. GEORGIA STATE UNIVERSITY, 1990 M.A. UNIVERSITY OF WISCONSIN- MILWAUKEE, 1995 “OUR ART ITSELF WAS OUR ACTIVISM”: ATLANTA’S NEIGHBORHOOD ARTS CENTER, 1975-1990 Committee Chair: Richard Allen Morton. Ph.D. Dissertation dated May 2012 This cultural history study examined Atlanta’s Neighborhood Arts Center (NAC), which existed from 1975 to 1990, as an example of black cultural politics in the South. As a Black Arts Movement (BAM) institution, this regional expression has been missing from academic discussions of the period. The study investigated the multidisciplinary programming that was created to fulfill its motto of “Art for People’s Sake.” The five themes developed from the program research included: 1) the NAC represented the juxtaposition between the individual and the community, local and national; 2) the NAC reached out and extended the arts to the masses, rather than just focusing on the black middle class and white supporters; 3) the NAC was distinctive in space and location; 4) the NAC seemed to provide more opportunities for women artists than traditional BAM organizations; and 5) the NAC had a specific mission to elevate the social and political consciousness of black people. In addition to placing the Neighborhood Arts Center among the regional branches of the BAM family tree, using the programmatic findings, this research analyzed three themes found to be present in the black cultural politics of Atlanta which made for the center’s unique grassroots contributions to the movement. The themes centered on a history of politics, racial issues, and class dynamics. -
The Atlanta Preservation Center's
THE ATLANTA PRESERVATION CENTER’S Phoenix2017 Flies A CELEBRATION OF ATLANTA’S HISTORIC SITES FREE CITY-WIDE EVENTS PRESERVEATLANTA.COM Welcome to Phoenix Flies ust as the Grant Mansion, the home of the Atlanta Preservation Center, was being constructed in the mid-1850s, the idea of historic preservation in America was being formulated. It was the invention of women, specifically, the ladies who came J together to preserve George Washington’s Mount Vernon. The motives behind their efforts were rich and complicated and they sought nothing less than to exemplify American character and to illustrate a national identity. In the ensuing decades examples of historic preservation emerged along with the expanding roles for women in American life: The Ladies Hermitage Association in Nashville, Stratford in Virginia, the D.A.R., and the Colonial Dames all promoted preservation as a mission and as vehicles for teaching contributive citizenship. The 1895 Cotton States and International Exposition held in Piedmont Park here in Atlanta featured not only the first Pavilion in an international fair to be designed by a woman architect, but also a Colonial Kitchen and exhibits of historic artifacts as well as the promotion of education and the arts. Women were leaders in the nurture of the arts to enrich American culture. Here in Atlanta they were a force in the establishment of the Opera, Ballet, and Visual arts. Early efforts to preserve old Atlanta, such as the Leyden Columns and the Wren’s Nest were the initiatives of women. The Atlanta Preservation Center, founded in 1979, was championed by the Junior League and headed by Eileen Rhea Brown. -
Barthé, Darryl G. Jr.Pdf
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Becoming American in Creole New Orleans: Family, Community, Labor and Schooling, 1896-1949 Darryl G. Barthé, Jr. Doctorate of Philosophy in History University of Sussex Submitted May 2015 University of Sussex Darryl G. Barthé, Jr. (Doctorate of Philosophy in History) Becoming American in Creole New Orleans: Family, Community, Labor and Schooling, 1896-1949 Summary: The Louisiana Creole community in New Orleans went through profound changes in the first half of the 20th-century. This work examines Creole ethnic identity, focusing particularly on the transition from Creole to American. In "becoming American," Creoles adapted to a binary, racialized caste system prevalent in the Jim Crow American South (and transformed from a primarily Francophone/Creolophone community (where a tripartite although permissive caste system long existed) to a primarily Anglophone community (marked by stricter black-white binaries). These adaptations and transformations were facilitated through Creole participation in fraternal societies, the organized labor movement and public and parochial schools that provided English-only instruction. -
Rebellion Song Collection - Version 17 August 2021
THE IMPOSSIBLE REBELLION - Rebellion Song Collection - Version 17 August 2021 Contents Marcus & Holly’s core songs And When I Rise Be The Change Coal / Warm’s Not Cool Deep Peace Extinction Rebellion Chant Hear The Chant Hebridean Mourning Song If I Had To Rise Up Now Imagine The Impossible Lead With Love Love Rage Rebel One By One Our Planet Calls People Gonna Rise Power To The People Put Your Roots Down Temperature’s Rising Unified And Many We Are Rising (Forest From The Fire) We Are Rising Up We Are The Tongue We're Standing Here We Want To Live When London Lies other relevant song lyrics Bring Me Your Broken Heart Climate Change Challenge Climate Justice (tune of Daisy Daisy) Earth My Body Emergency Ever Rising Sum (tune of House Of The Rising Sun) Ext. Reb.! Right Here! Right Now! Gentle Angry People Go Green (tune of Jolene) Great Turning (aka We Shall Be Known) Hold You In Our Circle I Hear The Silence Calling Me In Dangerous Times It Isn’t Nice (To Block The Courtroom) It's Time To Act Now Join The Rebellion While You May Keep On Walking Forward Let Us Stand Life Is Not Measured Lift Up Your Voices (tune of Freedom Is Coming) Listen To Your Heart Message From Mother Earth Mother Hear Me Calling Motherland Must We Weep And Mourn Never Doubt No Birds In The Air, No Fish In The Sea Raise Up Your Voice And Sing Raise Your Voice ReBella Ciao (aka We Need To Wake Up) Rising Strong Round And Round The Earth Round And Round We Dance Serious Annoyance Seven (October) Nation Army Tall Trees / Mother I Feel You Tall Trees Grow The Children -
Eintou Pearl Springer Taitu Heron : Sharon Lake : Bernice L
Vol. 3, No. 2 :: Spring 2018 Caribbean Life + Olympian Feats, pt.2 In this issue: Eintou Pearl Springer Taitu Heron : Sharon Lake : Bernice L. McFadden : Nancy Ann Miller Keisha Oliver : Richard Schrader : Keino Senior : Kristine Simelda Carol Sorhaindo : Celia Sorhaindo : Obediah Michael Smith + more This issue is dedicated to the people of the Caribbean who have been impacted by Hurricanes Irma and Maria, and in particular the people of Dominica and Barbuda. They need our support so help in all ways that you can. Surviving a hurricane and deciding to forge ahead and rebuild is an Olympian feat. Hurricane Irma in the Eastern Caribbean, September 6, 2017 This issue is dedicated to Tamara Natalie Madden August 16, 1975 – November 4, 2017 A Jamaican-born painter and mixed-media artist (whose work was featured in IC Winter 2015) Tamara Natalie Madden - Peacock — In Memoriam — It is with heavy hearts that we bid a sad farewell to two members of the IC family: Kisembe Springer, also known as Ìyánífá Ifáfùnmiláyò Efuntola, and Catherine L. James Palmer. Kisembe was the daughter of Trinidadian poet, Eintou Pearl Springer, and Miss Catherine was the mother of our editor and founder, Opal Palmer Adisa. No words can describe the loss to Kisembe’s and Miss Catherine’s families and communities, so, instead, we honour their legacies of love and dedication. Kisembe and Miss Catherine, walk good with the ancestors. Ase. Ase. Ase. Catherine L. James Palmer Kisembe Springer CONTENTS Editor’s Letter © 2018 Caribbean Visual and Performing Arts. 15 Coalescing Hurricanes Irma and Maria with the Machete-Wielding Mother By Opal Palmer Adisa All rights reserved. -
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context. -
The Gothic Trespass in the Life and Songwriting of Tennessee Blues Musician Ray Cashman
DESOLATION BLUES: THE GOTHIC TRESPASS IN THE LIFE AND SONGWRITING OF TENNESSEE BLUES MUSICIAN RAY CASHMAN Victor Bouvéron A thesis submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Folklore in the American Studies Department. Chapel Hill 2017 Approved by: William Ferris Glenn Hinson Crystal O’Leary-Davidson © 2017 Victor Bouvéron ALL RIGHTS RESERVED ii ABSTRACT Victor Bouvéron: Desolation blues: The Gothic trespass in the life and songwriting of Tennessee blues musician Ray Cashman (Under the direction of William Ferris) This thesis explores the pervading feeling of the Gothic in the life and songwriting of Tennessee blues musician Ray Cashman. I argue that Cashman emotionally responds to the South through the framework of the Gothic to assert his identity as a white southern working- class male. As a reader, writer and performer, he trespasses the lines of race and class. The ethnographic fieldwork I conducted in Tennessee, Georgia and North Carolina between 2015 and 2017 led me to reflect on the intriguing relationship between blues, southern Gothic literature and white working-class culture in the South. The songs written by Cashman often express a feeling of desolation, bleakness and decay, invoke a sense of nostalgia for a bygone time, or describe eerie landscapes and supernatural presences. Cashman also retells southern Gothic stories, like “Snake Feast,” inspired by Harry Crews’s A Feast of Snakes. iii ACKNOWLEDGEMENTS This project started the day I met Bill Ferris in Lille, France, in 2013. Bill encouraged me to apply to UNC-Chapel Hill and introduced me to the field of folklore. -
Fulton County Cultural Summary
Fulton County cultural summary Regional Arts and Culture Forums Research Initiative The development of ARC’s Fifty Forward Plan and Plan 2040 places emphasis on the value of arts & culture to the region. It includes a call for “systematic annual data collection and analysis regarding the development of the creative economy in Georgia” and the development of a The Creative Industries in 2011 regional cultural master plan. Fulton County, GA Fulton County Summary This Creative Industries report offers a research-based approach to understanding the scope and economic importance of the arts in Fulton County, GA. The creative industries are composed of arts Few precedents exist of comprehensivebusinesses regional that range cooperationfrom non-profit museums, to symphonies,foster arts and theaters and to culture. for-profit film, Toarchitecture, that and advertising companies. Arts businesses and the creative people they employ stimulate innovation in end, the Atlanta Regional Commissiontodays contracted global marketplace. with the Metro Atlanta Arts & Culture Coalition from July to December of 2011 to conductNationally, the there areresearch 756,007 businesses contained in the U.S. in involved this in thedocument. creation or distribution The of following the arts. They employ 2.99 million people, representing 4.14 percent of all businesses and 2.17 percent of all information is a summary of the data employees,collected respectively. on Fulton The source County. for these data is Dun & Bradstreet, the most comprehensive and trusted source for business information in the U.S. For additional information on Fulton AsCounty of January and 2011, Fultonthe restCounty, of GA the is home 10 to Metro 4,965 arts-related Atlanta businesses counties that employ see the 29,817 people. -
Songs by Title
16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A. -
Jack Shainman Gallery
513 WEST 20TH STREET NEW YORK, NEW YORK 10011 TEL: 212.645.1701 FAX: 212.645.8316 JACK SHAINMAN GALLERY RADCLIFFE BAILEY Born in 1968, Bridgeton, New Jersey Lives and works in Atlanta, Georgia EDUCATION 1991 BFA, Atlanta College of Art, Atlanta, Georgia SELECTED ONE-ARTIST EXHIBITIONS 2019 – 2020 Vessel III, The Aldrich Contemporary Art Museum, Ridgefield, Connecticut, May 10, 2019 – March 15, 2020. 2019 The Ocean Between, Maruani Mercier Gallery, Brussels, Belgium, September 5 – October 31, 2019. 2018 Travelogue, Jack Shainman Gallery, The School, Kinderhook, New York, May 20 – October 6, 2018. Radcliffe Bailey: Pensive, The Gibbes Museum of Art, Charleston, South Carolina, April 27 – September 16, 2018. 2017 Radcliffe Bailey, Moss Art Center, Virginia Tech, Blacksburg, Virginia, September 14 – December 9, 2017. Curated by Margo Crutchfield. Radcliffe Bailey: The Great Dismal Swamp, The Greater Reston Arts Center, Reston, Virginia, April 21 – August 18, 2017. 2016 – 2017 Radcliffe Bailey: Pensive, SCAD Museum of Art, Walter O. Evans Gallery, Savannah, Georgia, November 10, 2016 – February 5, 2017. WWW.JACKSHAINMAN.COM [email protected] RadCliFFe BAiley: SeleCted BiogrAphy PAge 2 2016 Radcliffe Bailey: QUEST, Jack Shainman Gallery, 513 West 20th Street, New York, New York, April 28 – June 23, 2016. Radcliffe Bailey, Samson Projects, Boston, Massachusetts, April 1 – May 28, 2016. 2015 Radcliffe Bailey: Notes, Big Pond Artworks, Munich, Germany, November 11 – December 23, 2015. Radcliffe Bailey: Recent Works, Contemporary Arts Center, New Orleans, Louisiana, March 7 – June 7, 2015. Radcliffe Bailey: Storm at Sea, Fine Arts Center Gallery, University of Arkansas, Fayetteville, Arkansas, January 26 – February 20, 2015. 2014 Radcliffe Bailey: Maroons, Jack Shainman Gallery, 524 West 24th Street, New York, New York, January 16 – February 15, 2014. -
Messages of American Popular Song to Women During World War II
“I’m Doin’ It for Defense”: Messages of American Popular Song to Women during World War II A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements of the degree of MASTER OF MUSIC in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music 2013 by Amy Brooks BM, Bob Jones University, 2008 Committee Chair: bruce d. mcclung, PhD Abstract World War II presented many new opportunities for American women. In this time of need, they were called upon to take an active part in the war effort, whether by means of working in a factory, growing a victory garden, or serving as a volunteer for wartime organizations. Women made great strides forward in areas such as the workforce and the military. The American popular song industry promoted these new roles for women. I have compiled over 150 songs from 1940 to1945 that relate to women’s roles during the World War II era. Of these songs, I have chosen a select number of songs that best demonstrate popular culture’s attitudes and actions towards women during the war. These songs can be divided into five categories: women in the military, women in the workforce, women’s war effort, women’s responsibilities to men in uniform, and women in the immediate post-war period. I have studied the representative songs by considering their lyrics to identify the objectives supported by the popular song industry. I took into consideration the venues in which they were presented and how these performances influenced their reception. -
Shanequa Gay
SHANEQUA GAY EDUCATION Georgia State University. Master of Fine Art. Savannah College of Art and Design. Bachelor of Fine Arts. HONORS + AWARDS 2019 Do Good Fellow, Do Good Fund and The Southern Food Alliance 2019 Best of Atlanta, Banner Year Artist, Atlanta Magazine 2019 Selected Artist for OFF THE WALL a city-wide Mural initiative led by WonderRoot and the Atlanta Super Bowl Host Committee 2018 Selected Artist for Special Projects Aqua Art Miami 2018 Supplemental Funding Grant for Research, Georgia State University 2018 Andrew M. West Memorial Scholarship, Georgia State University 2017 Artist in Residence, Baldwin’s Room, Johannesburg, South Africa 2017 Supplemental Funding Grant for Research, Georgia State University 2016 Welch School of Art & Design Graduate Scholarship, Georgia State University 2015 Artist in Residence, The Creatives Project 2015 WonderRoot Community Supported Arts Program (2015) 2014 SCAD: Gene Arthur Allcott Scholarship / Glenda Knight Keyes Prize for Outstanding Talent (Wish Foundation) / Artistic Honors Scholarship 2014 Independent Study Fellowship, Iwakuni, Japan, 2014 2013 Selected Illustrator for First Lady Michelle Obama Luncheon Hostess Gift, Congressional Club 2011 Education Award, Americorps, Serving Atlanta Public Schools and Peachtree-Pine Homeless Shelter SOLO EXHIBITIONS 2019 Devout Griot, Emotional Keeper, Anne O Art Gallery, Atlanta, GA ini-she-ation, Chastain Arts Center, Atlanta, GA Lit Without Sherman, Hammonds House Museum, Atlanta, GA 2018 i come as us, Converse College, Sumter, SC i come as