Ralph Ellison Collection
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Want to Start a Revolution? Gore, Dayo, Theoharis, Jeanne, Woodard, Komozi
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 17:31 GMT) 4 Shirley Graham Du Bois Portrait of the Black Woman Artist as a Revolutionary Gerald Horne and Margaret Stevens Shirley Graham Du Bois pulled Malcolm X aside at a party in the Chinese embassy in Accra, Ghana, in 1964, only months after hav- ing met with him at Hotel Omar Khayyam in Cairo, Egypt.1 When she spotted him at the embassy, she “immediately . guided him to a corner where they sat” and talked for “nearly an hour.” Afterward, she declared proudly, “This man is brilliant. I am taking him for my son. He must meet Kwame [Nkrumah]. They have too much in common not to meet.”2 She personally saw to it that they did. In Ghana during the 1960s, Black Nationalists, Pan-Africanists, and Marxists from around the world mingled in many of the same circles. Graham Du Bois figured prominently in this diverse—sometimes at odds—assemblage. On the personal level she informally adopted several “sons” of Pan-Africanism such as Malcolm X, Kwame Nkrumah, and Stokely Carmichael. On the political level she was a living personification of the “motherland” in the political consciousness of a considerable num- ber of African Americans engaged in the Black Power movement. -
A History of African American Theatre Errol G
Cambridge University Press 978-0-521-62472-5 - A History of African American Theatre Errol G. Hill and James V. Hatch Frontmatter More information AHistory of African American Theatre This is the first definitive history of African American theatre. The text embraces awidegeographyinvestigating companies from coast to coast as well as the anglo- phoneCaribbean and African American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles – from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and ahalf centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals, and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are produc- tions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, are conveyed in this volume. errol g. hill was Professor Emeritus at Dartmouth College, Hanover, New Hampshire before his death in September 2003.Hetaughtat the University of the West Indies and Ibadan University, Nigeria, before taking up a post at Dartmouth in 1968.His publications include The Trinidad Carnival (1972), The Theatre of Black Americans (1980), Shakespeare in Sable (1984), The Jamaican Stage, 1655–1900 (1992), and The Cambridge Guide to African and Caribbean Theatre (with Martin Banham and George Woodyard, 1994); and he was contributing editor of several collections of Caribbean plays. -
WARD, THEODORE, 1902-1983. Theodore Ward Collection, 1937-2009
WARD, THEODORE, 1902-1983. Theodore Ward collection, 1937-2009 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Ward, Theodore, 1902-1983. Title: Theodore Ward collection, 1937-2009 Call Number: Manuscript Collection No. 1166 Extent: 1.5 linear feet (3 boxes) Abstract: Collection of materials relating to African American playwright Theodore Ward including personal papers, play scripts, and printed material associated with his plays. Language: Materials entirely in English. Administrative Information Restrictions on Access Unrestricted access. Terms Governing Use and Reproduction All requests subject to limitations noted in departmental policies on reproduction. Related Materials in Other Repositories Theodore Ward papers, J. Willard Marriott Library, University of Utah. Theodore Ward plays, Play Script Collection, New York Public Library. Source Gift of James V. Hatch and Camille Billops, 2011 Custodial History Forms part of the Camille Billops and James V. Hatch Archives at Emory University. Citation [after identification of item(s)], Theodore Ward collection, Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University. 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. Theodore Ward collection, 1937-2009 Manuscript Collection No. 1166 Appraisal Note Acquired by Curator of African American Collections, Randall Burkett, as part of the Rose Library's holdings in African American theater. Processing Arranged and described at the file level by Courtney Chartier and Sarah Quigley, 2017. This finding aid may include language that is offensive or harmful. -
A Bibliography of Plays Written by Black Americans: 1855 to the Present. PUB DATE 74 NOTE 14P.; Prepared at Eastern Illinois University
DOCUMENT RESUME ED 096 676 CS 201 568 AUTHOR Whitlow, Roger, Comp. TITLE A Bibliography of Plays Written by Black Americans: 1855 to the Present. PUB DATE 74 NOTE 14p.; Prepared at Eastern Illinois University EDRS PRICE MF-$0.75 HC-$1.50 PLUS POSTAGE DESCRIPTORS *American Literature; *Bibliographies; *Drama; Higher Education; Negro Culture; *Negro Literature; Nineteenth Century Literature; Twentieth Century Literature ABSTRACT This 342-item alphabetized bibliography of plays by black Americans covers the period from 1855 to the present. Some of the playwrights and their works are Paul L. Dunbar's "Uncle Eph's Christmas," 1905; James V. Johnson and Bob Cole's "The Shoo-Ply Regiment," 1907; Lorraine Hansberry's "A Raisin in the Sun," 1959; James Baldwin'$ "Blues for Mr. Charlie," 1964; Ed Bullins' "In New england Winter," 1967; Le Roi Jones' (Isamu Amiri Baraka) "Dutchcan" and "The Slave," 1964; and Ossie Davis' "Purlie Victorious," 1961. Some of the plays included have never beer published. (SW) DEpaRTmENToc HEALTH EDUCATION WELFARE NATIONALtNStiTUTEOF IcOUCTION mr FIE% AA , ' WE I t. 14,1%. PE cp-% QC!, ...t% :Fc .:. h PO ti' .I 0, . oht, ...1'k,,,e` h- hFE ,: wr Pro Eti* OFF ( AL NA' '1- D.10.4 ., ' A BIBLIOGRAPHY OF PLAYS WRITTEN BY BLACK AMERICANS: 1855 TO THE PRESENT 'PERMISSION TO REPRODUCE THIS COPY. RIGHTED MATERIAL HAS BEEN GRANTED Compiled by Roger Whitlow Roger Whitlow .. TO ERICAND ORGANIZATIONS OPERATING Assistant Professor of English UNDER AGREEMENTS WITH THE NATIONAL IN STITUTE OF EDUCATION FURTHER REPRO. Eastern Illinois University DUCTION OUTSIDE THE ERIC SYSTEM RE. QUIRES PERMISSION OFTHE COPYRIGHT Charleston, Tllinois 61920 OWNER Aldridge, Ira rrederick A GLANCE AT THE LIFE OF IRA FREDERICK ALDRIDGE. -
THE 3231: Section AAHP / Fall 2021 African-American Theatre History and Practice Class Meeting Time - MWF Per
Af. Am. Theatre– Fall 2021 Page 1 University of Florida - College of the Arts - School of Theatre and Dance THE 3231: Section AAHP / Fall 2021 African-American Theatre History and Practice Class Meeting Time - MWF Per. 4 (10:40 - 11:30) / CON 0219 Dr. Mikell Pinkney / Office: 222 McGuire Pavilion / 273-0512 / [email protected] Office Hours: Mon. 1:00 - 2:45PM & Wednesday by appointment. Course Content: An investigation and examination of the historical origins and development of theatre by, for and about Black/ African Americans from the late 18th Century through the end of the 20th Century. The course examines theatre from an historical, philosophical, ethnic and racial perspective and provides a theoretical understanding of cultural studies and sociological influences on and within a larger American society as created and represented for, about, by and through the perspectives of Black-Americans, highlighting a systematic move form cultural margin to mainstream theatrical practices and acknowledgements. Objectives and Outcomes: Students will learn the historical contexts of playwrights, performers, theorists & theoretical concepts, productions and organizations that help to identify African-American Theatre as an indigenous American institution. Terminology and concepts of cultural studies are used as a means for access and critical thinking about the subject. Discussions are developed through readings, lectures, videos, and analysis of dramatic literature of the field. Two tests, a mid-term exam, a group presentation and a final paper are required to access competence, communication and critical thinking skills. Student Learning Objectives: 1. Students identify and analyze key elements, biases and influences that shape thought within the discipline (Critical Thinking) 2. -
Richard Wright and William Faulkner's Racial Imaginations
Violent Disruptions: Richard Wright and William Faulkner's Racial Imaginations The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Chavers, Linda Doris Mariah. 2013. Violent Disruptions: Richard Wright and William Faulkner's Racial Imaginations. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11169797 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA VIOLENT DISRUPTIONS: WILLIAM FAULKNER AND RICHARD WRIGHT’S RACIAL IMAGINATIONS A dissertation presented by Linda Doris Mariah Chavers to The Graduate School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of African and African American Studies Harvard University Cambridge, Massachusetts September 2013 © 2013 Linda Doris Mariah Chavers All Rights Reserved. Dissertation Advisor: Professor Werner Sollors Linda Chavers Violent Disruptions: William Faulkner and Richard Wright’s Racial Imagination Abstract Violent Disruptions contends that the works of Richard Wright and William Faulkner are mirror images of each other and that each illustrates American race relations in distinctly powerful and prescient ways. While Faulkner portrays race and American identity through sex and its relationship to the imagination, Wright reveals a violent undercurrent beneath interracial encounters that the shared imagination triggers. Violent Disruptions argues that the spectacle of the interracial body anchors the cultural imaginations of our collective society and, as it embodies and symbolizes American slavery, drives the violent acts of individuals. -
Articles 2015 年 ６ 月 第 48 巻
日本大学生産工学部研究報告Ｂ Articles 2015 年 ６ 月 第 48 巻 Wright and Hughes: Chicago and Two Major African American Writers Toru KIUCHI＊ and Noboru FUKUSHIMA＊ （Received December 16, 2014） Abstract The Chicago Renaissance has long been considered a less important literary movement for American modernism than the Harlem Renaissance. The differences between the two movements have to do not only with history, but with aesthetics. While the Harlem Renaissance began in the 1920s—flourishing during the decade, but fading during the 30s in the throes of the Depression—the Chicago Renaissance had its origin in the turn of the nineteenth century, from 1890 to 1920, gathering momentum in the 30s, and paving the way for modern and postmodern realism in American literature ever since. Theodore Dreiser was the leader for the first period of the movement, and Richard Wright was the most influential figure for the second period. The first section of this article will examine not only the continuity that existed between the two periods in the writers’ worldviews but also the techniques they shared. To portray Chicago as a modern, spacious, cosmopolitan city, the writers of the Chicago Renaissance sought ways to reject traditional subject matter and form. The new style of writing yielded the development of a distinct cultural aesthetic that reflected ethnically diverse sentiments and aspirations. The panel discussion will focus on the fact that while the Harlem Renaissance was dominated by African American writers, the Chicago Renaissance thrived on the interactions between African and European American writers. Much like modern jazz, writings in the Chicago Renaissance became the hybrid, cross-cultural product of black and white Americans. -
Dreaming America
DREAMING AMERICA Popular Front Ideals and Aesthetics in Children’s Plays of the Federal Theatre Project LESLIE ElAINE FROST THE OHIO STATE UNIVERSITY PRESS | COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Frost, Leslie Elaine. Dreaming America : popular front ideals and aesthetics in children’s plays of the Federal Theatre Project / Leslie Elaine Frost. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1213-4 (cloth : alk. paper) — ISBN 0-8142-1213-1 (cloth : alk. paper) — ISBN 978-0-8142-9314-0 (cd-rom) 1. Federal Theatre Project (U.S.) 2. American drama—20th century—History and criticism. 3. Children’s plays, American—History and criticism. I. Title. PS351.F76 2013 812'.5099282—dc23 2012032475 Cover design by Laurence J. Nozik Type set in Adobe Minion Pro and Poppl-Laudatio Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations v Acknowledgments vii INTRODuctION Children’s Theatre of a People’s Theatre 1 CHAPTER 1 Federal Theatre Project Dreams: Raising an Educated Audience for a Permanent American National Theatre 23 CHAPTER 2 “We Should Have Called It Rumpelstiltskin”: A Labor Fairy Tale Gets Real in The Revolt of the Beavers 43 CHAPTER 3 “I Looked Him Right Square in the Eye”: Being African American in The Story of Little Black Sambo 71 CHAPTER 4 “Shadows of Your Thoughts Are Marching”: Anti-Fascism and Home-front Patriotism in Federal Theatre’s A Letter to Santa Claus and Hollywood’s The Little Princess 108 CHAPTER 5 Wishing on a Star: Pinocchio’s Journey from the Federal Stage to Disney’s World 128 CONCLusION Death of a Dream 140 Notes 149 Works Cited 177 Index 188 ILLUSTRATIONS FIGURE 1. -
ABSTRACT Title of Dissertation: STAGING THE
ABSTRACT Title of Dissertation: STAGING THE PEOPLE: REVISING AND REENVISIONING COMMUNITY IN THE FEDERAL THEATRE PROJECT Elizabeth Ann Osborne, Doctor of Philosophy, 2007 Directed By: Dr. Heather S. Nathans Department of Theatre The Federal Theatre Project (FTP, 1935-1939) stands alone as the only real attempt to create a national theatre in the United States. In the midst of one of the greatest economic and social disasters the country has experienced, and between two devastating wars, the FTP emerged from the ashes of adversity. One of the frequently lampooned Arts Projects created under the aegis of President Franklin Delano Roosevelt’s New Deal, the FTP lived for four short, turbulent, and exhilarating years. Under the leadership of National Director Hallie Flanagan, the FTP employed more than 13,000 unemployed theatre professionals, brought some much needed emotional support to an audience of more than 30 million, and fought to provide locally relevant theatre for the people of the United States. Yet, how does a national organization create locally relevant theatre in cities and towns throughout this diverse country? Each chapter addresses the same overarching question: How did the FTP develop a relationship with its surrounding communities, and what were the dynamics of that relationship? The regions all dealt with the question in a manner that was unique to their experiences, and which was dependent upon the political, social, cultural, and economic issues that made the communities themselves distinct. Recognizing these differences is vital in understanding both the FTP and the concept of a national theatre in America. This dissertation considers the perceived successes and failures of specific case studies in both urban and rural locations in four of the five major regions, the Midwest, South, East, and West. -
William Branch
A Medal For Willie by William Branch was WILLIAM BRANCH originally produced by the Committee for the Negro and the Arts in 1951 at the Club Baron in Note: Branch's comments on African American theater extended Harlem. The morning after it opened, Mr. Branch to the present. For this report, only his remarks through the reported for induction into the United States 1950s have been excerpted. Army. his morning we are dealing with a number of different areas; Excerpt from A M edal for Willie my area happens to be the first African American community by William Branch theater. The first African American community theater? TWell, let me see, now, when could that have been? I suppose some of you would think, "Well, in terms of what history I know, that Scene 1 would be back in the Harlem Renaissance of the '20s or maybe a few years earlier." There have been people who have speculated on that (Lights come up revealing Mrs. Jackson seated to some extent. Unfortunately, some of them have been vastly, at a table while her daughter, Lucy Mae, vastly wrong. applies a hot pressing comb to her hair. The In 1988, Richard Bernstein, writing in the New York Times, on table is spread with newspaper, upon which Sunday, March 27 — in case any of you are interested in looking it stands a small mirror, a hot plate, a box of up — in an article entitled, "August Wilson's Voices From the Past," hairpins, and a jar of "Dixie Peach" pomade. wrote the following: "The tradition of a Black American theater is Mrs. -
Negro Liberation
NEGRO LIBERATION N E G R O L I B E R A T I O N by Harry Haywood INTERNATIONAL PUBLISHERS, NEW YORK N E G R O R G E N COPYRIGHT, 1948, BY L I B E R A T I O N ITERNATIONALO I T PUBLISHERSA R CO>,E INC. B I L PRINTED IN THE U.S.A. by Harry Haywood Harry by From Marx to Mao M L © Digital Reprints 2008 INTERNATIONAL PUBLISHERS, NEW YORK NEW www.marx2mao.comPUBLISHERS, INTERNATIONAL C O N T E N T S PREFACE 5 I. THE PROBLEM 11 II. THE PLANTATION — INSTRUMENT OF OPPRESSION 21 III. BIG BUSINESS AND THE PLANTATION 49 IV. THE SHADOW OF THE PLANTATION 66 V. “LIBERAL REMEDIES” 83 VI. LAND AND FREEDOM 116 VII. THE NEGRO NATION 136 VIII. THE NEGRO LIBERATION MOVEMENT 168 REFERENCE NOTES 221 APPENDIX 233 INDEX 241 To the Memory of My Mother Harriet Born in Slavery, She Taught Me To Fight for Freedom P R E F A C E THE AMERICAN NEGRO faces the most crucial de- cision in his entire history. All of the gains so painfully won by him through years of struggle and sacrifice stand in jeopardy as the specter of World War III looms sinisterly above the sky- scrapers of Wall Street. During the late war the Negro took his stand in overwhelming numbers against fascism. He turned a deaf ear to the siren voices that would have swerved him from his true interests and rejected the counsel that the war was a “white man’s war” and that he stand on the side lines while the fate of humanity was being decided. -
The Aesthetic of Place in the American Play-Cycle
THE AESTHETIC OF PLACE IN THE AMERICAN PLAY-CYCLE by Erin Lea Naler APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ R. Clay Reynolds, Chair ___________________________________________ Fred Curchack ___________________________________________ Jessica C. Murphy ___________________________________________ Marilyn Waligore Copyright 2017 Erin Lea Naler All Rights Reserved to my father for the taste of land and the gift of place THE AESTHETIC OF PLACE IN THE AMERICAN PLAY-CYCLE by ERIN LEA NALER, BS, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES—AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS May 2017 ACKNOWLEDGMENTS I have been honored to work with many artists and scholars who have poured their time and talent into my life, resulting in this study of community. Before all things this is an artifact of the places that have provided me a community—sometimes nurturing, sometimes chaotic, but always beautiful. To my artist community—who taught me to embrace fear and failure. To my family—who taught me to live abundantly in tension at the border of the city and the field. To my faith community—whose generosity has no edge. To the scholars who helped me see, my teachers and committee members, Marilyn Waligore, Fred Curchack, and Jessica Murphy. And most importantly to Clay Reynolds who taught me to write and helped me find my voice. October 2016 v THE AESTHETIC OF PLACE IN THE AMERICAN PLAY-CYCLE Publication No. ___________________ Erin Lea Naler, PhD The University of Texas at Dallas, 2017 ABSTRACT Supervising Professor: Dr.