Toward a Framework of Black Historical Consciousness
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Vindicating Karma: Jazz and the Black Arts Movement
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B. -
The Black Arts Enterprise and the Production of African American Poetry
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE The Black Arts Enterprise and the Production of African American Poetry The Black Arts Enterprise and the Production of African American Poetry Howard Rambsy II The University of Michigan Press • Ann Arbor First paperback edition 2013 Copyright © by the University of Michigan 2011 All rights reserved 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 5432 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Rambsy, Howard. The black arts enterprise and the production of African American poetry / Howard Rambsy, II. p. cm. Includes bibliographical references and index. ISBN 978-0-472-11733-8 (cloth : acid-free paper) 1. American poetry—African American authors—History and criticism. 2. Poetry—Publishing—United States—History—20th century. 3. African Americans—Intellectual life—20th century. 4. African Americans in literature. I. Title. PS310.N4R35 2011 811'.509896073—dc22 2010043190 ISBN 978-0-472-03568-7 (pbk. : alk. paper) ISBN 978-0-472-12005-5 (e-book) Cover illustrations: photos of writers (1) Haki Madhubuti and (2) Askia M. Touré, Mari Evans, and Kalamu ya Salaam by Eugene B. Redmond; other images from Shutterstock.com: jazz player by Ian Tragen; African mask by Michael Wesemann; fist by Brad Collett. -
A Framework for Teaching American Slavery
K–5 FRAMEWORK TEACHING HARD HISTORY A FRAMEWORK FOR TEACHING AMERICAN SLAVERY ABOUT THE SOUTHERN POVERTY LAW CENTER The Southern Poverty Law Center, based in Montgomery, Alabama, is a nonpar- tisan 501(c)(3) civil rights organization founded in 1971 and dedicated to fighting hate and bigotry, and to seeking justice for the most vulnerable members of society. ABOUT TEACHING TOLERANCE A project of the Southern Poverty Law Center founded in 1991, Teaching Tolerance is dedicated to helping teachers and schools prepare children and youth to be active participants in a diverse democracy. The program publishes Teaching Tolerance magazine three times a year and provides free educational materials, lessons and tools for educators commit- ted to implementing anti-bias practices in their classrooms and schools. To see all of the resources available from Teaching Tolerance, visit tolerance.org. © 2019 SOUTHERN POVERTY LAW CENTER Teaching Hard History A K–5 FRAMEWORK FOR TEACHING AMERICAN SLAVERY 2 TEACHING TOLERANCE // TEACHING HARD HISTORY // A FRAMEWORK FOR TEACHING AMERICAN SLAVERY CONTENTS Introduction 4 About the Teaching Hard History Elementary Framework 6 Grades K-2 10 Grades 3-5 18 Acknowledgments 28 Introduction Teaching about slavery is hard. It’s especially hard in elementary school classrooms, where talking about the worst parts of our history seems at odds with the need to motivate young learners and nurture their self-confidence. Teaching about slavery, especially to children, challenges educators. Those we’ve spoken with—especially white teachers—shrink from telling about oppression, emphasizing tales of escape and resistance instead. They worry about making black students feel ashamed, Latinx and Asian students feel excluded and white students feel guilty. -
Black Anarchism, Pedro Riberio
TABLE OF CONTENTS 1. Introduction.....................................................................................................................2 2. The Principles of Anarchism, Lucy Parsons....................................................................3 3. Anarchism and the Black Revolution, Lorenzo Komboa’Ervin......................................10 4. Beyond Nationalism, But not Without it, Ashanti Alston...............................................72 5. Anarchy Can’t Fight Alone, Kuwasi Balagoon...............................................................76 6. Anarchism’s Future in Africa, Sam Mbah......................................................................80 7. Domingo Passos: The Brazilian Bakunin.......................................................................86 8. Where Do We Go From Here, Michael Kimble..............................................................89 9. Senzala or Quilombo: Reflections on APOC and the fate of Black Anarchism, Pedro Riberio...........................................................................................................................91 10. Interview: Afro-Colombian Anarchist David López Rodríguez, Lisa Manzanilla & Bran- don King........................................................................................................................96 11. 1996: Ballot or the Bullet: The Strengths and Weaknesses of the Electoral Process in the U.S. and its relation to Black political power today, Greg Jackson......................100 12. The Incomprehensible -
W.E.B. Du Bois Department of Afro-American Studies Undergraduate & Graduate Course Descriptions
W.E.B. DU BOIS DEPARTMENT OF AFRO-AMERICAN STUDIES UNDERGRADUATE & GRADUATE COURSE DESCRIPTIONS UNDERGRADUATE AFROAM 101. Introduction to Black Studies Interdisciplinary introduction to the basic concepts and literature in the disciplines covered by Black Studies. Includes history, the social sciences, and humanities as well as conceptual frameworks for investigation and analysis of Black history and culture. AFROAM 111. Survey African Art Major traditions in African art from prehistoric times to present. Allied disciplines of history and archaeology used to recover the early history of certain art cultures. The aesthetics in African art and the contributions they have made to the development of world art in modern times. (Gen.Ed. AT, G) AFROAM 113. African Diaspora Arts Visual expression in the Black Diaspora (United States, Caribbean, and Latin America) from the early slave era to the present. AFROAM 117. Survey of Afro-American Literature (4 credits) The major figures and themes in Afro-American literature, analyzing specific works in detail and surveying the early history of Afro-American literature. What the slave narratives, poetry, short stories, novels, drama, and folklore of the period reveal about the social, economic, psychological, and artistic lives of the writers and their characters, both male and female. Explores the conventions of each of these genres in the period under discussion to better understand the relation of the material to the dominant traditions of the time and the writers' particular contributions to their own art. (Gen.Ed. AL, U) (Planned for Fall) AFROAM 118. Survey of Afro-American Literature II (4 credits) Introductory level survey of Afro-American literature from the Harlem Renaissance to the present, including DuBois, Hughes, Hurston, Wright, Ellison, Baldwin, Walker, Morrison, Baraka and Lorde. -
The Black Arts Movement Author(S): Larry Neal Source: the Drama Review: TDR, Vol
The Black Arts Movement Author(s): Larry Neal Source: The Drama Review: TDR, Vol. 12, No. 4, Black Theatre (Summer, 1968), pp. 28-39 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1144377 Accessed: 13/08/2010 21:18 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to The Drama Review: TDR. http://www.jstor.org 29 The Black Arts Movement LARRYNEAL 1. The Black Arts Movement is radically opposed to any concept of the artist that al- ienates him from his community. -
I Am a Revolutionary Black Female Nationalist
Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication Spring 5-10-2013 I am a Revolutionary Black Female Nationalist: A Womanist Analysis of Fulani Sunni Ali's Role as a New African Citizen and Minister of In-formation in the Provisional Government of the Republic of New Africa Rondee Gaines Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Gaines, Rondee, "I am a Revolutionary Black Female Nationalist: A Womanist Analysis of Fulani Sunni Ali's Role as a New African Citizen and Minister of In-formation in the Provisional Government of the Republic of New Africa." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/communication_diss/44 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. I AM A REVOLUTIONARY BLACK FEMALE NATIONALIST: A WOMANIST ANALYSIS OF FULANI SUNNI ALI’S ROLE AS A NEW AFRICAN CITIZEN AND MINISTER OF IN- FORMATION IN THE PROVISIONAL GOVERNMENT OF THE REPUBLIC OF NEW AFRICA by RONDEE GAINES Under the Direction of M. Lane Bruner ABSTRACT Historically, black women have always played key roles in the struggle for liberation. A critical determinant of black women’s activism was the influence of both race and gender, as the- se factors were immutably married to their subjectivities. African American women faced the socio-cultural and structural challenge of sexism prevalent in the United States and also in the black community. -
2011/2012 Black History Trivia Bowl Study Questions # CATEGORY
2011/2012 Black History Trivia Bowl Study Questions # CATEGORY QUESTION ANSWER Along the Gulf Coast of Louisiana, what type of music is played 1 Arts with the accordion? Zydeco 2 Arts Who wrote "Their Eyes Were Watching God" ? Zora Neale Hurston Which one of composer/pianist Anthony Davis' operas premiered in Philadelphia in 1985 and was performed by the X: The Life and Times of 3 Arts New York City Opera in 1986? Malcolm X Since 1987, who has held the position of director of jazz at 4 Arts Lincoln Center for the Performing Arts in New York City? Wynton Marsalis Of what profession were Langston Hughes, Zora Neale Hurston, and Countee Cullen, major contributors to the Harlem 5 Arts Renaissance? Writers Who wrote Clotel , or The President’s Daughter , the first 6 Arts published novel by a Black American in 1833? William Wells Brown Who published The Escape , the first play written by a Black 7 Arts American? William Wells Brown 8 Arts What is the given name of blues great W.C. Handy? William Christopher Handy What aspiring fiction writer, journalist, and Hopkinsville native, served as editor of three African American weeklies: the Indianapolis Recorder , the Freeman , and the Indianapolis William Alexander 9 Arts Ledger ? Chambers 10 Arts Nat Love wrote what kind of stories? Westerns Cartoonist Morrie Turner created what world famous syndicated 11 Arts comic strip? Wee Pals Who was born in Florence, Alabama in 1873 and is called 12 Arts “Father of the Blues”? WC Handy Georgia Douglas Johnson was a poet during the Harlem Renaissance era. -
Diversity in the Arts
Diversity In The Arts: The Past, Present, and Future of African American and Latino Museums, Dance Companies, and Theater Companies A Study by the DeVos Institute of Arts Management at the University of Maryland September 2015 Authors’ Note Introduction The DeVos Institute of Arts Management at the In 1999, Crossroads Theatre Company won the Tony Award University of Maryland has worked since its founding at the for Outstanding Regional Theatre in the United States, the John F. Kennedy Center for the Performing Arts in 2001 to first African American organization to earn this distinction. address one aspect of America’s racial divide: the disparity The acclaimed theater, based in New Brunswick, New between arts organizations of color and mainstream arts Jersey, had established a strong national artistic reputation organizations. (Please see Appendix A for a list of African and stood as a central component of the city’s cultural American and Latino organizations with which the Institute revitalization. has collaborated.) Through this work, the DeVos Institute staff has developed a deep and abiding respect for the artistry, That same year, however, financial difficulties forced the passion, and dedication of the artists of color who have theater to cancel several performances because it could not created their own organizations. Our hope is that this project pay for sets, costumes, or actors.1 By the following year, the will initiate action to ensure that the diverse and glorious quilt theater had amassed $2 million in debt, and its major funders that is the American arts ecology will be maintained for future speculated in the press about the organization’s viability.2 generations. -
The Black Power Movement
A Guide to the Microfilm Edition of BLACK STUDIES RESEARCH SOURCES Microfilms from Major Archival and Manuscript Collections General Editors: John H. Bracey, Jr. and Sharon Harley The Black Power Movement Part 1: Amiri Baraka from Black Arts to Black Radicalism Editorial Adviser Komozi Woodard Project Coordinator Randolph H. Boehm Guide compiled by Daniel Lewis A microfilm project of UNIVERSITY PUBLICATIONS OF AMERICA An Imprint of CIS 4520 East-West Highway • Bethesda, MD 20814-3389 Library of Congress Cataloging-in-Publication Data The Black power movement. Part 1, Amiri Baraka from Black arts to Black radicalism [microform] / editorial adviser, Komozi Woodard; project coordinator, Randolph H. Boehm. p. cm.—(Black studies research sources) Accompanied by a printed guide, compiled by Daniel Lewis, entitled: A guide to the microfilm edition of the Black power movement. ISBN 1-55655-834-1 1. Afro-Americans—Civil rights—History—20th century—Sources. 2. Black power—United States—History—Sources. 3. Black nationalism—United States— History—20th century—Sources. 4. Baraka, Imamu Amiri, 1934– —Archives. I. Woodard, Komozi. II. Boehm, Randolph. III. Lewis, Daniel, 1972– . Guide to the microfilm edition of the Black power movement. IV. Title: Amiri Baraka from black arts to Black radicalism. V. Series. E185.615 323.1'196073'09045—dc21 00-068556 CIP Copyright © 2001 by University Publications of America. All rights reserved. ISBN 1-55655-834-1. ii TABLE OF CONTENTS Introduction ............................................................................................................................ -
Vuu/Chamberlayne Neighborhood Plan
vuu/Chamberlayne Neighborhood Plan Richmond, Virginia urban design associates ADOPTED November 16, 2015 MA YOR DWIGHT C. JONES PLANNING COMMISSION STEERING COMMITTEE Erica Wheeler, Rodney M. Poole, Esquire, Chait Tonya Scott-Hickman, VUU/Chamberlayne CHIEF ADMINISTRATORS President, Edgehill Civic VUU School of Business Association Selena Cuffee-Glenn Melvin Law, Vice Chair Neighborhood Plan Chief Administrative Officer Dr. Juritsa Ford, Anita Hackett Ellen F. Robertson, VUU School of Business Peter L. Downey, City Council Representative Eugertha Minnicks Acting Deputy CAO, Economic Dr. Julius Scipio, Selena Cuffee-Glenn, Margaret Houchens PREPARED FOR Development and Planning Provost, Academic Affairs, VUU CAO Representative City of Richmond Jean Williams CITY COUNCIL Thomasina Binga, David Johannas The Metropolitan Business League PREPARED BY Michelle R. Mosby Willie Williams President, South Central (9th) Lynn McAteer Urban Design Associates Julie Paul Danene Brown, VHB Chris A. Hilbert, Doug Cole Doug Cole, Cite Design Edgehill Civic Association RDS Vice President, Northside (3rd) Vik Murthy Willie Lanier, Jr., Paul Weissend, Snead Jonathan T. Baliles, Dovetail Construction Jeffrey W. Sadler Lanier United Miles Agency West End (1st) D EPARTMENT OF PLANNING & Julie Wray, Julie Weissend, Charles R. Samuels, Dovetail Construction DEVELOPMENT REVIEW Human Resources, Pfizer North Central (2nd) Mark A. Olinger, Director Sharon Darby, Michele Martel, Kathy C. Graziano, Children’s Hospital of District Communications Kim Chen, Senior Planner Southwest (4th) Richmond at VCU Coordinator, USPS ADOPTED by CITY PLANNING Jeffrey Eastman, Senior Planner Parker C. Agelasto, Leslie G. Wyatt, Laura Lafayette, COMMISSION: NOVEMBER 16, 2015 Central (5th) Matthew Ebinger, Senior Planner Executive Director, Richmond Association of Realtors Children’s Hospital of Resolution No. -
Rebellions in America.Indd
enslaved Africans. They didn’t Enslaved Africans Rebel speak English. It would usually Enslaved Africans plotted insurrections. take 6-8 months before they could speak English. Like other Enslaved Africans in the North Fight enslaved Africans they didn’t A rebellion would only have a chance have any maps, and didn’t know to succeed if Africans were armed. where they were. Whether they Unfortunately whites had more weapons, were on a plantation in Georgia since it was against the law for an African or Louisiana, it might take years to own a weapon. before they knew whether they were close to a free state or far In 1712 enslaved Africans were able to arm away. themselves. Twenty-fi ve enslaved Africans with guns and clubs decided to burn down But back home in Africa, the homes of white enslavers in New York many of these “new” enslaved City. Nine whites were killed in the attack. Africans had been warriors or Eventually, soldiers arrived and they leaders, and they were not defeated the rebelling Africans. Eighteen willing to accept slavery. Africans involved in the rebellion were Drums were used by killed. Whenever a rebellion was defeated Africans in America to Stono Rebellion usually everyone involved in the rebellion communicate and orga- One African, a man named was executed. nize. Jemmy, organized a rebellion in by using drums Africans could 1739. Jemmy had just recently Born in Africa, Enslaved in America communicate. At the time been kidnapped and brought Not every enslaved African planned a whites would have to walk or to America from Angola.