American Library Association Ethnic and Multicultural Information
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Foster, Morgan with TP.Pdf
Foster To my parents, Dawn and Matt, who filled our home with books, music, fun, and love, and who never gave me any idea I couldn’t do whatever I wanted to do or be whoever I wanted to be. Your love, encouragement, and support have helped guide my way. ! ii! Foster ACKNOWLEDGMENTS I would like to thank Dr. Roberta Maguire for her priceless guidance, teaching, and humor during my graduate studies at UW-Oshkosh. Her intellectual thoroughness has benefitted me immeasurably, both as a student and an educator. I would also like to thank Dr. Don Dingledine and Dr. Norlisha Crawford, whose generosity, humor, and friendship have helped make this project not only feasible, but enjoyable as well. My graduate experience could not have been possible without all of their support, assistance, and encouragement. ! iii! Foster TABLE OF CONTENTS Introduction..........................................................................................................................v History of African American Children’s and Young Adult Literature ......................... vi The Role of Early Libraries and Librarians.....................................................................x The New Breed............................................................................................................ xiv The Black Aesthetic .................................................................................................... xvi Revelation, Not Revolution: the Black Arts Movement’s Early Influence on Virginia Hamilton’s Zeely ............................................................................................................1 -
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions by Ned Hémard
NEW ORLEANS NOSTALGIA Remembering New Orleans History, Culture and Traditions By Ned Hémard Shall We Dance Dancing has been an essential part of New Orleans’ psyche almost since its very beginning. Pierre François de Rigaud, Marquis de Vaudreuil-Cavagnal replaced Bienville, the city’s founder, as Governor of Louisiana. He set the standards high with his polished manners, frequently sponsoring balls, dinners, and other elegant social soirées. Serving from 1743 to 1753, he even provided the colony with a Parisian dancing master named Baby. Below are numerous quotes through the ages about the Crescent City’s special love affair with dancing: There were balls, with court dress de rigueur, where gaily uniformed officers danced with bejeweled women. This was the beginning of fashionable life in the colony. - LYLE SAXON, writing of “de Vaudreuil’s régime” in Old Louisiana The eccentricities of Baby's mind, as well as those of his physical organization had made him famous in the colony, and the doleful mien with which he used to give his lessons, had gained him the appellation of the Don Quixote of dancing. -Louisiana Historian CHARLES GAYARRÉ on Baby, the Dancing Master The female Creoles being in general without education, can possess no taste for reading music or drawing, but they are passionately fond of dancing … passing whole nights in succession in this exercise. - PIERRE-LOUIS BERQUIN-DUVALLON, Travels in Louisiana and the Floridas in the Year 1802, Giving the Correct Picture of Those Countries It’s the land where they dance more than any other. - LOUIS-NARCISSE BAUDRY DES LOZIÈRES, Second Voyage à la Louisiane, 1803 Upon my arrival at New Orleans, I found the people very Solicitous to maintain their Public Ball establishment, and to convince them that the American Government felt no disposition to break in upon their amusements … - GOVERNOR W. -
From Maroons to Mardi Gras
FROM MAROONS TO MARDI GRAS: THE ROLE OF AFRICAN CULTURAL RETENTION IN THE DEVELOPMENT OF THE BLACK INDIAN CULTURE OF NEW ORLEANS A MASTERS THESIS SUBMITTED TO THE GRADUATE FACULTY OF LIBERTY UNIVERSITY BY ROBIN LIGON-WILLIAMS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY DECEMBER 18, 2016 Copyright: Robin Ligon-Williams, © 2016 CONTENTS ACKNOWLEDGEMENTS iv. ABSTRACT vi. CHAPTER 1. INTRODUCTION 1 History and Background 1 Statement of the Problem 1 Research Question 2 Glossary of Terms 4 Limitations of the Study 6 Assumptions 7 2. LITERATURE REVIEW 9 New Orleans-Port of Entry for African Culture 9 Brotherhood in Congo Square: Africans & Native Americans Unite 11 Cultural Retention: Music, Language, Masking, Procession and Ritual 13 -Musical Influence on Jazz & Rhythm & Blues 15 -Language 15 -Procession 20 -Masking: My Big Chief Wears a Golden Crown 23 -African Inspired Masking 26 -Icons of Resistance: Won’t Bow Down, Don’t Know How 29 -Juan “Saint” Maló: Epic Hero of the Maroons 30 -Black Hawk: Spiritual Warrior & Protector 34 ii. -Spiritualist Church & Ritual 37 -St. Joseph’s Day 40 3. METHODOLOGY 43 THESIS: 43 Descriptions of Research Tools/Data Collection 43 Participants in the Study 43 Academic Research Timeline 44 PROJECT 47 Overview of the Project Design 47 Relationship of the Literature to the Project Design 47 Project Plan to Completion 49 Project Implementation 49 Research Methods and Tools 50 Data Collection 50 4. IN THE FIELD 52 -Egungun Masquerade: OYOTUNJI Village 52 African Cultural Retentions 54 -Ibrahima Seck: Director of Research, Whitney Plantation Museum 54 -Andrew Wiseman: Ghanaian/Ewe, Guardians Institute 59 The Elders Speak 62 -Bishop Oliver Coleman: Spiritualist Church, Greater Light Ministries 62 -Curating the Culture: Ronald Lewis, House of Dance & Feathers 66 -Herreast Harrison: Donald Harrison Sr. -
Award Winning Books (508) 531-1304
EDUCATIONAL RESOURCE CENTER Clement C. Maxwell Library 10 Shaw Road Bridgewater MA 02324 AWARD WINNING BOOKS (508) 531-1304 http://www.bridgew.edu/library/ Revised: May 2013 cml Table of Contents Caldecott Medal Winners………………………. 1 Newbery Medal Winners……………………….. 5 Coretta Scott King Award Winners…………. 9 Mildred Batchelder Award Winners……….. 11 Phoenix Award Winners………………………… 13 Theodor Seuss Geisel Award Winners…….. 14 CALDECOTT MEDAL WINNERS The Caldecott Medal was established in 1938 and named in honor of nineteenth-century English illustrator Randolph Caldecott. It is awarded annually to the illustrator of the most distinguished American picture book for children published in the previous year. Location Call # Award Year Pic K634t This is Not My Hat. John Klassen. (Candlewick Press) Grades K-2. A little fish thinks he 2013 can get away with stealing a hat. Pic R223b A Ball for Daisy. Chris Raschka. (Random House Children’s Books) Grades preschool-2. A 2012 gray and white puppy and her red ball are constant companions until a poodle inadvertently deflates the toy. Pic S7992s A Sick Day for Amos McGee. Philip C. Stead. (Roaring Brook Press) Grades preschool-1. 2011 The best sick day ever and the animals in the zoo feature in this striking picture book. Pic P655l The Lion and the Mouse. Jerry Pinkney. (Little, Brown and Company) Grades preschool- 2010 1. A wordless retelling of the Aesop fable set in the African Serengeti. Pic S9728h The House in the Night. Susan Marie Swanson. (Houghton Mifflin) Grades preschool-1. 2009 Illustrations and easy text explore what makes a house in the night a home filled with light. -
The Dance in Place Congo. I. Congo Square
THE DANCE IN PLACE CONGO. I. CONGO SQUARE. HOEVER has been to New Orleans with eyes not totally abandoned to buying and selling will, of course, remember St. Louis Cathedral, looking south-eastward — riverward — across quaint Jackson Square, the old Place W d'Armes. And if he has any feeling for flowers, he has not forgotten the little garden behind the cathedral, so antique and unexpected, named for the beloved old priest Père Antoine. The old Rue Royale lies across the sleeping garden's foot. On the street's farther side another street lets away at right angles, north-westward, straight, and imperceptibly downward from the cathedral and garden toward the rear of the city. It is lined mostly with humble ground-floor-and-garret houses of stuccoed brick, their wooden doorsteps on the brick sidewalks. This is Orleans street, so named when the city was founded. Its rugged round-stone pavement is at times nearly as sunny and silent as the landward side of a coral reef. Thus for about half a mile; and then Rampart street, where the palisade wall of the town used to run in Spanish days, crosses it, and a public square just beyond draws a grateful canopy of oak and sycamore boughs. That is the place. One may shut his buff umbrella there, wipe the beading sweat from the brow, and fan himself with his hat. Many's the bull-fight has taken place on that spot Sunday afternoons of the old time. That is Congo Square. The trees are modern. So are the buildings about the four sides, for all their aged looks. -
Beyond the Stereotypes: a Guide to Resources for Black Girls and Young Women
DOCUMENT RESUME ED 275 772 UD 025 155 AUTHOR Wilson, Geraldine, Comp.; Vassall, Merlene, Comp. TITLE Beyond the Stereotypes: A Guide to Resources for Black Girls and Young Women. INSTITUTION National Black Child Development Inst., Inc., Washington, D.C. SPONS AGENCY Women's Educational Equity Act Program (ED), Washington, DC. PUB DATE 86 NOTE 71p.; Educational Equity for Black Girls Project: Building Achievement Motivation, Counteracting the Stereotypes. AVAILABLE FROMNational Black Child Development Inst., 1463 Rhode Island Ave., N.W., Washington, DC 20005 ($8.50). PUB TYPE Guides - General (050) -- Reference Materials - Bibliographies (131) -- Reports - Evaluative/Feasibility (142) EDRS PRICE MF01 Plus Postage. PC Not Available from EDRS. DESCRIPTORS *Adolescents; Annotated Bibliographies; Black Attitudes; Black Culture; *Black Literature; *Blacks; *Black Youth; *Females; Films; *Preadolescents; Preschool Children; *Resource Materials ABSTRACT This resource guide lists books, records, and films that provide a realistic and wholesome depiction of what it means to be a black girl or woman. Organized according to medium and appropriate age ranges, it includes a brief annotation for each item. Suggestions for use of the guide are provided, as are the following criteria for selecting resources for black girls: (1) accurate presentation of history; (2) non-stereotypical characterization; (3) non-derogatory language and terminology; and (4) illustrations demonstrating the diversity of the black experience. Also included are distributors and -
Virginia Hamilton
Virginia Hamilton I see my books and the language I use in them as empowering me to give utterance to Quick Facts the dreams, the wishes, of African Americans. I see the imaginative use of language and * 1936-2002 ideas as a way to illuminate a human condi- * Of mixed tion. .I’ve attempted to mark the history and African-Ameri- traditions of African Americans, a parallel can and Native- “culture people, through my writing, while American bringing readers strong stories and memo- identity rable characters living nearly the best they * Children’s know how. I want the readers, both adults and children, to care about who the characters book author are. I want readers to feel, to understand, and to empathize. — Virginia Hamilton Biography From the time Virginia Hamilton was a child, she was exposed to sto- rytelling. Born in 1936 on a small farm in Yellow Springs, Ohio,” to a musician/farmer and a housewife, Hamilton grew up listening to stories of freedom and hard work. By her own account, Hamilton was a born writer, stating, “ I started writing as a kid; it was always something I was going to do” [1]. Receiving a full scholarship to Antioch College, she transferred after three years, went to Ohio State University, and contin- ued her studies in writing in New York. She married in 1960 and worked at various jobs - to make ends meet while she finished school including This page was researched and submitted by Tyrone Daniels, singing, accounting, and being a museum receptionist. Her vocation to Nicole Lesser, Tiffany Mcwhorter, write was always with her, and finally, in 1967, she moved back to Yel- and Cherie Zanders. -
New Orleans Jazz National Historical Park Junior Ranger Activity Book
U.S. Department of the Interior New Orleans Jazz National Park Service National Historical Park Junior Ranger Activity Book New Orleans Jazz National Historical Park Be a Junior Park Ranger EXPLORE . LEARN . PROTECT Are YOU ready to become a Junior Park Ranger ? Becoming a Junior Ranger is a fun way to learn about Jazz, New Orleans & YOUR National Park. 1.) How do you become a Junior Park Ranger? Choose and complete the number of activities for your age group. Your parents are welcome to help and learn too. 7 years & younger, complete at least four activities. 8-11 years, complete six or more activities. 12 years or older, complete at least eight of the activities 2.) To receive your Junior Ranger Badge, complete the activities for your age group, then re- turn to the visitor’s center, or mail the booklet to the New Orleans Jazz National Historical Park. *If you have any questions about the activities in this book remember that Park Rangers are here to help you. New Orleans Jazz National Historical Park MAIL: Junior Park Ranger VISITOR CENTER: 916 N. Peters St. (in Dutch Alley) PERFORMANCE HALL AT: Old U.S. Mint TO 419 Decatur St. New Orleans, LA. 70116 400 Esplanade Ave. New Orleans, LA. 70130 New Orleans, LA.70116 (504) 589-4841 ● www.nps.gov/jazz WWhat is JJazz? Jazz is a musical style based on improvisation, that is the art of making What is something up on the spot. New Orleans Many different musical Jazz? styles came together to form what we now call jazz, and the place it all began was in New Orleans. -
Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans. Michael Eugene Crutcher Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Crutcher, Michael Eugene Jr, "Protecting 'Place' in African -American Neighborhoods: Urban Public Space, Privatization, and Protest in Louis Armstrong Park and the Treme, New Orleans." (2001). LSU Historical Dissertations and Theses. 272. https://digitalcommons.lsu.edu/gradschool_disstheses/272 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. -
The Evolution of Ornette Coleman's Music And
DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style. -
The John Newbery Medal
NEWBERY AWARD WINNERS 1922 – 2015 Distinguished Contribution to American Literature for Children 2015 Winner: The Crossover by Kwame Alexander Honor Books: El Deafo by Cece Bell Brown Girl Dreaming by Jacqueline Woodson 2014 Winner: Flora & Ulysses: The Illuminated Adventures by Kate DiCamillo Honor Books: Doll Bones by Holly Black The Year of Billy Miller by Kevin Henkes One Came Home by Amy Timberlake Paperboy by Vince Vawter 2013 Winner: The One and Only Ivan by Katherine Applegate Honor Books: Splendors and Glooms by Laura Amy Schiltz Bomb: the Race to Build—and Steal—the World’s Most Dangerous Weapon by Steve Sheinkin Three Times Lucky by Sheila Turnage 2012 Winner: Dead End in Norvelt by Jack Gantos Honor Books: Inside Out & Back Again by Thanhha Lai Breaking Stalin's Nose by Eugene Yelchin 2011 Winner: Moon over Manifest by Clare Vanderpool Honor Books: Turtle in Paradise by Jennifer L. Holm Heart of a Samurai by Margi Preus Dark Emperor and Other Poems of the Night by Joyce Sidman One Crazy Summer by Rita Williams-Garcia 2010 Winner: When You Reach Me by Rebecca Stead Honor Books: Claudette Colvin: Twice Toward Justice by Phillip Hoose The Evolution of Calpurnia Tate by Jacqueline Kelly Where the Mountain Meets the Moon by Grace Lin The Mostly True Adventures of Homer P. Figg by Rodman Philbrick 2009 Winner: The Graveyard Book by Neil Gaiman Honor Books: The Underneath by Kathi Appelt The Surrender Tree: Poems of Cuba's Struggle for Freedom by Margarita Engle Savvy by Ingrid Law After Tupac & D Foster by Jacqueline Woodson 2008 Winner: Good Masters! Sweet Ladies! Voices from a Medieval Village by Laura Amy Schiltz Honor Books: Elijah of Buxton by Christopher Paul Curtis The Wednesday Wars by Gary D. -
A Never Ending Never Done Bibliography of Multicultural Literature for Younger and Older Children
DOCUMENT RESUME ED 407 388 SP 037 304 AUTHOR Walters, Toni S., Comp.; Cramer, Amy, Comp. TITLE A Never Ending Never Done Bibliography of Multicultural Literature for Younger and Older Children. First Edition. PUB DATE 96 NOTE 51p. PUB TYPE Information Analyses (070) Reference Materials Bibliographies (131) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Adolescent Literature; Adolescents; *American Indian Literature; American Indians; Asian Americans; *Black Literature; Blacks; Children; Childrens Literature; Elementary Secondary Education; *Ethnic Groups; *Hispanic American Literature; Hispanic Americans; United States Literature IDENTIFIERS African Americans; *Asian American Literature; Latinos; *Multicultural Literature; Native Americans ABSTRACT People of all ages are addressed in this bibliography of multicultural literature. It focuses on four major ethnic groups: African Americans, Asian Americans, Latino Americans, and Native Americans. Within each category a distinction is made between those works with an authentic voice and those with a realistic voice. An authentic voice is an author or illustrator who is from the particular ethnic group and brings expertise and life experience to his/her writings or illustrations. A realistic voice is that of an author or illustrator whose work is from outside that experience, but with valuable observations. An asterisk notes the distinction. No distinction is drawn between juvenile literature and adult literature. The decision is left to the reader to make the choices, because some adult literature may contain selections appropriate to children. Two appendices provide: a selected annotated bibliography (14 entries) on multiethnic/multicultural literature references and analyses and sources of multiethnic/multicultural books.(SPM) ******************************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document.