All God's Children Need Traveling Shoes
Total Page:16
File Type:pdf, Size:1020Kb
Load more
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. -
Patterns of Behavior: Analyzing Modes of Social Interaction from Prehistory to the Present
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work 5-2010 Patterns of Behavior: Analyzing Modes of Social Interaction from Prehistory to the Present Whitney Nicole Hayden University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Part of the Other Languages, Societies, and Cultures Commons Recommended Citation Hayden, Whitney Nicole, "Patterns of Behavior: Analyzing Modes of Social Interaction from Prehistory to the Present" (2010). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1374 This Dissertation/Thesis is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Patterns of BEHAVIOR APPROPRIATE INTERACTION IN SOCIETY: FROM PREHISTORY TO THE PRESENT Patterns of BEHAVIOR APPROPRIATE INTERACTION IN SOCIETY: FROM PREHISTORY TO THE PRESENT We are spending less time with physical people and the community and more time with objects. We are getting to the point where we don’t have to interact with people in the physical: e-mail, instant messaging, texting, tweeting, and social networking. Are we having real conversations? There is no intonation in an e-mail or text message. Doesn’t intonation, body language, and facial expressions make up half of the experience in a conversation? Merriam-Webster defines “conversation” as such: oral exchange of Western civilization has been captivated by the electronic sentiments, observations, opinions, or ideas. -
Solidarity Sing-Along
Song credits: 1. We Shall Overcome adapted from a gospel song by Charles Albert Tindley, current version first published in 1947 in the People's Songs Bulletin 2. This Land is Your Land by Woody Guthrie, Wisconsin chorus by Peter Leidy 3. I'm Stickin' to the Union (also known as Union Maid) by Woody Guthrie, final updated verse added in the 1980's 4. We Shall Not Be Moved adapted from the spiritual "I shall not be moved" 5. There is Power in a Union music and lyrics by Billy Bragg 6. When We Make Peace lyrics by the Raging Grannies 7. Keep Your Eyes on the Prize lyrics by Alice Wine, based on the traditional song "Gospel Plow" 8. Solidarity Forever by Ralph Chaplin, updated verses by Steve Suffet, from the Little Red Songbook 9. Have You Been to Jail for Justice music and lyrics by Anne Feeney 10. Ain't Gonna Let Nobody Turn Me 'roun based on the spiritual “Don't You Let Nobody Turn You Around” Solidarity 11. It Isn’t Nice by Malvina Reynolds with updated lyrics by the Kissers 12. Roll the Union On Original music and lyrics by John Handcox, new lyrics by the people of Wisconsin Sing-along 13. We Are a Gentle Angry People by Holly Near We Shall Overcome 14. Which Side Are You On? Original lyrics by Florence This Land is Your Land Reece, melody from a traditional Baptist hymn, “Lay the Lily Low”, new lyrics by Daithi Wolfe I'm Stickin' to the Union 15. Scotty, We’re Comin’ for You words and music by the We Shall Not Be Moved Kissers There is Power in a Union 16. -
A Subaltern Reading on the Heart of a Woman
A SUBALTERN READING ON THE HEART OF A WOMAN G. GODWIN Ph.D Research Scholar, Department of English, AVVM Sri Pushpam College, Poondi, Thanjavur 613 503. (TN) INDIA The Heart of a Women is the fourth volume of Maya Angelou’s continuing autobiography out of seven volumes. Maya Angelou narrated from the point of view of a woman who tells more about the same story that she told in her previous volumes. This volume opens by some of detailed notes of historical reflections intended to locate Maya Angelou’s time and place, where the African-Americans were treated as Subalterns, because being born Black is itself a liability in a world ruled by White criterions of beauty which imprisons the child Maya a priori in the cage of ugliness. This paper throws lights on the Subalterns and their pain and struggles in the voice of Maya Angelou. This volume traces Maya’s spiritual, psychological and political odyssey as she emerges from a disturbing and oppressive young years to become a prominent figure in contemporary American literature. She has clearly portrayed the hardships associated with lower-class African American life. Key Words: Racism, Oppression, Struggle, Hardship, Subaltern. INTRODUCTION The voice of African American community and the African American Women is the main concern in the serial autobiographies of Maya Angelou. Particularly in the fourth volume The Heart of a Woman, she records her marginalized experience and oppressed consciousness. This recording leads her to the formation of politicized consciousness and self-identity. Her autobiography acts as resistance to those who denied the possibility of full life to the people in America. -
Kwame Nkrumah, His Afro-American Network and the Pursuit of an African Personality
Illinois State University ISU ReD: Research and eData Theses and Dissertations 3-22-2019 Kwame Nkrumah, His Afro-American Network and the Pursuit of an African Personality Emmanuella Amoh Illinois State University, [email protected] Follow this and additional works at: https://ir.library.illinoisstate.edu/etd Part of the African American Studies Commons, and the African History Commons Recommended Citation Amoh, Emmanuella, "Kwame Nkrumah, His Afro-American Network and the Pursuit of an African Personality" (2019). Theses and Dissertations. 1067. https://ir.library.illinoisstate.edu/etd/1067 This Thesis is brought to you for free and open access by ISU ReD: Research and eData. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. KWAME NKRUMAH, HIS AFRO-AMERICAN NETWORK AND THE PURSUIT OF AN AFRICAN PERSONALITY EMMANUELLA AMOH 105 Pages This thesis explores the pursuit of a new African personality in post-colonial Ghana by President Nkrumah and his African American network. I argue that Nkrumah’s engagement with African Americans in the pursuit of an African Personality transformed diaspora relations with Africa. It also seeks to explore Black women in this transnational history. Women are not perceived to be as mobile as men in transnationalism thereby underscoring their inputs in the construction of certain historical events. But through examining the lived experiences of Shirley Graham Du Bois and to an extent Maya Angelou and Pauli Murray in Ghana, the African American woman’s role in the building of Nkrumah’s Ghana will be explored in this thesis. -
Dayo Gore from Communist Politics to Black Power
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 17:20 GMT) 3 From Communist Politics to Black Power The Visionary Politics and Transnational Solidarities of Victoria “Vicki” Ama Garvin Dayo F. Gore As recounted in this collection’s introduction, when listing the key figures in Ghana’s expatriate community during the 1960s, writer Les- lie Lacy referenced Vicki Garvin, a longtime labor activist and black radi- cal, as one of the people to see “if you want to start a revolution.”1 While several recent studies on Black Power politics have acknowledged Vicki Garvin’s activism and transnational travels, she is often mentioned only as a representative figure, a “radical trade unionist,” or a “survivor of Mc- Carthyism,” with little attention given to the specific details of her life and political contributions.2 Yet Vicki Garvin played a leading role in the six decades of struggle that marked the shift from Negro civil rights to black liberation. Politicized in the upheavals of Depression-era Harlem and ac- tive in the U.S. left well into the 1980s, Garvin provides an important win- dow for understanding the significant channels of influence between the Old Left and the New Left and between black radicalism and the black freedom struggle. -
We Worship God and Learn More About Christian Living in an Inclusive Way
February 14, 2010 Prelude Joel Hammett Gift of Finest Wheat Schmoltze, Composer + Our Community Gathers Rev. Kristen Klein-Cechettini We Mark Eggleston Worship + Exchange of Peace Songs were an integral part of the American civil rights Hymn movement. Singing inspired large groups of people at church Lift Every Voice and Sing meetings, street demonstrations, Lift every voice and sing, Till earth and heaven ring, and marches. Many of the songs were Ring with the harmonies of liberty; traditional hymns Let our rejoicing rise high as the listening skies, and spirituals with Let it resound loud as the rolling seas. lyrics that had several layers of meaning and Sing a song full of the faith that the dark past has taught us, expressed a desire Sing a song full of the hope that the present has brought us; for freedom. Other hymns and spirituals Facing the rising sun of our new day begun, were given new words Let us march on till victory is won. to emphasize the struggle for more Stony the road we trod, Bitter the chast'ning rod, specific issues such as voting rights. Felt in the days when hope unborn had died; Yet with a steady beat, Have not our weary feet What we now call Black History Come to the place for which our people sighed? Month originated We have come over a way that with tears has been watered; in 1926, founded by Carter G Woodson We have come, treading our path through the blood of the slaughtered; as Negro History Out from the gloomy past, Till now we stand at last Week. -
KILLENS, JOHN OLIVER, 1916-1987. John Oliver Killens Papers, 1937-1987
KILLENS, JOHN OLIVER, 1916-1987. John Oliver Killens papers, 1937-1987 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Killens, John Oliver, 1916-1987. Title: John Oliver Killens papers, 1937-1987 Call Number: Manuscript Collection No. 957 Extent: 61.75 linear feet (127 boxes), 5 oversized papers boxes (OP), and 3 oversized bound volumes (OBV) Abstract: Papers of John Oliver Killens, African American novelist, essayist, screenwriter, and political activist, including correspondence, writings by Killens, writings by others, and printed material. Language: Materials entirely in English. Administrative Information Restrictions on Access Special restrictions apply: Series 5: Some student records are restricted until 2053. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Source Purchase, 2003 Citation [after identification of item(s)], John Oliver Killens papers, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. Processing Processed by Elizabeth Roke, Elizabeth Stice, and Margaret Greaves, June 2011 This finding aid may include language that is offensive or harmful. Please refer to the Rose Library's harmful language statement for more information about why such language may appear and ongoing efforts to remediate racist, ableist, sexist, homophobic, euphemistic and other Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. John Oliver Killens papers, 1937-1987 Manuscript Collection No. 957 oppressive language. If you are concerned about language used in this finding aid, please contact us at [email protected]. -
I Know Why the Caged Bird Sings by Maya Angelou
y f !, 2.(T I Know Why the Caged Bird Sings MAYA ANGELOU Level 6 Retold by Jacqueline Kehl Series Editors: Andy Hopkins and Jocelyn Potter Contents page Introduction V Chapter 1 Growing Up Black 1 Chapter 2 The Store 2 Chapter 3 Life in Stamps 9 Chapter 4 M omma 13 Chapter 5 A New Family 19 Chapter 6 Mr. Freeman 27 Chapter 7 Return to Stamps 38 Chapter 8 Two Women 40 Chapter 9 Friends 49 Chapter 10 Graduation 58 Chapter 11 California 63 Chapter 12 Education 71 Chapter 13 A Vacation 75 Chapter 14 San Francisco 87 Chapter 15 Maturity 93 Activities 100 / Introduction In Stamps, the segregation was so complete that most Black children didn’t really; absolutely know what whites looked like. We knew only that they were different, to be feared, and in that fear was included the hostility of the powerless against the powerful, the poor against the rich, the worker against the employer; and the poorly dressed against the well dressed. This is Stamps, a small town in Arkansas, in the United States, in the 1930s. The population is almost evenly divided between black and white and totally divided by where and how they live. As Maya Angelou says, there is very little contact between the two races. Their houses are in different parts of town and they go to different schools, colleges, stores, and places of entertainment. When they travel, they sit in separate parts of buses and trains. After the American Civil War (1861—65), slavery was ended in the defeated Southern states, and many changes were made by the national government to give black people more rights. -
Robert F. Williams, Negroes with Guns, Ch. 3-5, 1962
National Humanities Center Resource Toolbox The Making of African American Identity: Vol. III, 1917-1968 Robert F. Williams R. C. Cohen Negroes With Guns *1962, Ch. 3-5 Robert F. Williams was born and raised in Monroe, North Carolina. After serving in the Marine Cops in the 1950s, he returned to Monroe and in 1956 assumed leadership of the nearly defunct local NAACP chapter; within six months its membership grew from six to two-hundred. Many of the new members were, like him, military veterans trained in the use of arms. In the late 1950s the unwillingness of Southern officials to address white violence against blacks made it increasingly difficult for the NAACP to keep all of its local chapters committed to non-violence. In 1959, after three white men were acquitted of assaulting black women in Monroe, Williams publicly proclaimed the right of African Americans to armed self-defense. The torrent of criticism this statement brought down on the NAACP prompted its leaders — including Thurgood Marshall, Roy Wilkins, and Martin Luther King, Jr. — to denounce Williams. The NAACP eventually suspended him, but he continued to make his case for self-defense. Williams in Tanzania, 1968 Chapter 3: The Struggle for Militancy in the NAACP Until my statement hit the national newspapers the national office of the NAACP had paid little attention to us. We had received little help from them in our struggles and our hour of need. Now they lost no time. The very next morning I received a long distance telephone call from the national office wanting to know if I had been quoted correctly. -
Maya Angelou, a Writer's Legacy
2017-2018 Resource Guide MAYA ANGELOU, A WRITER’S LEGACY Written by Mary Tensing Produced by TCT On Tour, a Division of The Children’s Theatre of Cincinnati Friday, February 2, 2018 VICTORIA THEATRE ASSOCIATION VICTORIA • SCHUSTER • MAC/LOFT • ARTS ANNEX • ARTS GARAGE 9:30 a.m. & 11:30 a.m. Curriculum Connections You will find these icons listed in the resource guide next to the activities that indicate curricular connections. Teachers and parents are encouraged to adapt all of the activities included in an appropriate way for your students’ age and abilities. MAYA ANGELOU, A WRITER’S LEGACY fulfills the following Ohio and National Education Standards and Benchmarks for Grades 3-12: elcome to the 2017-2018 Discovery Series at Victoria Ohio’s New Learning Standards for English Language Arts: WTheatre Association. We are very Grade 3- RI.3.4, W.3.3, W.3.4, W.3.5, SL.3.1, L.3.1, L.3.2, L.3.3, L.3.5 excited to be your education partner in Grade 4- RI.4.4, W.4.3, W.4.4, W.4.5, SL.4.1, L.4.1, L.4.2, L.4.3, L.4.5 providing professional arts experiences to Grade 5- RI.5.4, W.5.3, W.5.4, W.5.5, SL.5.1, L.5.1, L.5.2, L.5.3, L.5.5 you and your students! Grade 6- RI.6.4, W.6.3, W.6.4, W.6.5, SL.6.1, L.6.1, L.6.2, L.6.3, L.6.5 Grade 7- RI.7.4, W.7.3, W.7.4, W.7.5, SL.7.1, L.7.1, L.7.2, L.7.3, L.7.5 Maya Angelou is one of the most inspiring Grade 8- RI.8.4, W.8.3, W.8.4, W.8.5, SL.8.1, L.8.1, L.8.2, L.8.3, L.8.5 and influential poets our country has Grades 9-10- RI.9-10.4, W.9-10.3, W.9-10.4, W.9-10.5, SL.9-10.1, L.9-10.1, L.9-10.2, L.9- ever seen. -
Freedom's Songs
Freedom’s Songs: Collective Voices in the Struggle for Freedom Jazz from A to Z Workshop for History, Language Arts and Performing Arts Educators October 2012 Goals of Jazz from A to Z • Enrich the historical and cultural knowledge of students and teachers through an integrated study of both jazz music and American/World history. • Develop and maintain historical thinking in history classes and activities. • Empower students and teachers with skills and knowledge of jazz in its historical context so as to have a meaningful experience with works of music • Enhance student musical performances Objectives of Jazz from A to Z • History students will create jazz/civil rights projects for National History Day to be displayed during JAM@MAC. The historical topics of the projects will relate to the NHD theme of “Turning Points in History: People, Ideas, Events.” Students will be evaluated using the National History Day rubric. • Student jazz bands will perform at the Essentially Ellington Regional Festival on April 4, 2013 at Mesa Arts Center and be evaluated using Jazz at Lincoln Center’s Essentially Ellington competition rubric. • Teachers will create a lesson plan that integrates music and NEA Jazz in the Schools in their curriculum. Objectives of the Workshops • Students and teachers will analyze and interpret music (gospel, jazz, freedom songs and popular songs) as a primary source while examining the Civil Rights Movement in the 1950s and early 1960s.. • Students and teachers will determine the role of music as a cultural mirror in the 1950s and early 1960s.. • Students and teachers will assess the function of music as an agent of social change during the Civil Rights Movement.