Studio Arena Program; Having Our Say; 1998 Studio Arena Theater
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Black Women, Educational Philosophies, and Community Service, 1865-1965/ Stephanie Y
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2003 Living legacies : Black women, educational philosophies, and community service, 1865-1965/ Stephanie Y. Evans University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Evans, Stephanie Y., "Living legacies : Black women, educational philosophies, and community service, 1865-1965/" (2003). Doctoral Dissertations 1896 - February 2014. 915. https://scholarworks.umass.edu/dissertations_1/915 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]. M UMASS. DATE DUE UNIVERSITY LIBRARY UNIVERSITY OF MASSACHUSETTS AMHERST LIVING LEGACIES: BLACK WOMEN, EDUCATIONAL PHILOSOPHIES, AND COMMUNITY SERVICE, 1865-1965 A Dissertation Presented by STEPHANIE YVETTE EVANS 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 2003 Afro-American Studies © Copyright by Stephanie Yvette Evans 2003 All Rights Reserved BLACK WOMEN, EDUCATIONAL PHILOSOHIES, AND COMMUNITY SERVICE, 1865-1964 A Dissertation Presented by STEPHANIE YVETTE EVANS Approved as to style and content by: Jo Bracey Jr., Chair William Strickland, -
National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
10 Surprising Facts About Oscar Winner Ruth E. Carter and Her Designs
10 Surprising Facts About Oscar Winner Ruth E. Carter and Her Designs hollywoodreporter.com/lists/10-surprising-facts-oscar-winner-ruth-e-carter-her-designs-1191544 The Hollywood Reporter The Academy Award-winning costume designer for 'Black Panther' fashioned a headpiece out of a Pier 1 place mat, trimmed 150 blankets with a men's shaver, misspelled a word on Bill Nunn's famous 'Do the Right Thing' tee, was more convincing than Oprah and originally studied special education. Ruth E. Carter in an Oscars sweatshirt after her first nomination for "Malcolm X' and after her 2019 win for 'Black Panther.' Courtesy of Ruth E. Carter; Dan MacMedan/Getty Images Three-time best costume Oscar nominee Ruth E. Carter (whose career has spanned over 35 years and 40 films) brought in a well-deserved first win at the 91st Academy Awards on Feb. 24 for her Afrofuturistic designs in Ryan Coogler’s blockbuster film Black Panther. 1/10 Carter is the first black woman to win this award and was previously nominated for her work in Spike Lee’s Malcolm X (1992) and Steven Spielberg’s Amistad (1997). "I have gone through so much to get here!” Carter told The Hollywood Reporter by email. “At times the movie industry can be pretty unkind. But it is about sticking with it, keeping a faith and growing as an artist. This award is for resilience and I have to say that feels wonderful!" To create over 700 costumes for Black Panther, Carter oversaw teams in Atlanta and Los Angeles, as well as shoppers in Africa. -
Working the Democracy: the Long Fight for the Ballot from Ida to Stacey
Social Education 84(4), p. 214–218 ©2020 National Council for the Social Studies Working the Democracy: The Long Fight for the Ballot from Ida to Stacey Jennifer Sdunzik and Chrystal S. Johnson After a 72-year struggle, the Nineteenth Amendment to the U.S. Constitution granted whose interests should be represented, American women the right to vote in 1920. Coupled with the Fifteenth Amendment, and ultimately what policies will be which extended voting rights to African American men, the ratification of the implemented at the local and national Nineteenth Amendment transformed the power and potency of the American electorate. levels. At a quick glance, childhoods par- Yet for those on the periphery—be Given the dearth of Black women’s tially spent in Mississippi might be the they people of color, women, the poor, voices in the historical memory of the only common denominator of these two and working class—the quest to exer- long civil rights struggle, we explore the women, as they were born in drastically cise civic rights through the ballot box stories of two African American women different times and seemed to fight dras- has remained contested to this day. In who harnessed the discourse of democ- tically different battles. Whereas Wells- the late nineteenth century and into the racy and patriotism to argue for equality Barnett is best known for her crusade twentieth, white fear of a new electorate and justice. Both women formed coali- against lynchings in the South and her of formerly enslaved Black men spurred tions that challenged the patriarchal work in documenting the racial vio- public officials to implement policies boundaries limiting who can be elected, lence of the 1890s in publications such that essentially nullified the Fifteenth as Southern Horrors and A Red Record,1 Amendment for African Americans in she was also instrumental in paving the the South. -
Play Guide for Gloria
Play Guide September 28-October 20, 2019 by Emily Mann directed by Risa Brainin 2019 and the recent past. This new work by Tony Award-winning playwright Emily Mann celebrates the life of one of the most important figures of America's feminist movement! Nearly half a century later, Ms. Steinem's fight for gender equality is still a battle yet to besimplifying won. IT 30 East Tenth Street Saint Paul, MN 55101 651-292-4323 Box Office 651-292-4320 Group Sales historytheatre.com Page 2 Emily Mann—Playwright Pages 3-4 Gloria Steinem Timeline Page 5-7 Equal Rights Amendment Page 8-11 Second Wave Feminism Page 12 National Women’s Conference Page 13 Phyllis Schlafly Pages 14-15 Milestones in U.S. Women’s History Page 16 Discussion Questions/Activities Page 17 Books by Gloria Steinem able of Content T Play Guide published by History Theatre c2019 Emily Mann (Playwright, Artistic Director/Resident Playwright) is in her 30th and final season as Artistic Director and Resident Playwright at the McCarter Theatre Center in Princeton, New Jersey. Her nearly 50 McCarter directing credits include acclaimed produc- tions by Shakespeare, Chekhov, Ibsen, and Williams and the world premieres of Christopher Durang’s Turning Off the Morning News and Miss Witherspoon; Ken Ludwig’s Murder on the Orient Express; Rachel Bonds’ Five Mile Lake; Danai Guri- ra’s The Convert; Sarah Treem’s The How and the Why; and Edward Albee’s Me, Myself & I. Broadway: A Streetcar Named Desire, Anna in the Tropics, Execution of Justice, Having Our Say. -
EXHIBITION CHECKLIST Bound up Together: on the 100Th Anniversary of the 19Th Amendment
EXHIBITION CHECKLIST Bound up Together: On the 100th Anniversary of the 19th Amendment NATALIA ALMONTE Un día como hoy (A day like today), 2019-20 Video installation, sandbags, shipping pallets, 10:14 min., dimensions variable. Courtesy of the artist. NFS In the site-specific video installation Un día como hoy (A day like today), Almonte uses abstracted footage, sounds, and voiceover to create a portrait of her grandmother to shed light on the U.S. exploitation of Puerto Rican women for the non-consensual and hazardous clinical trials of the first U.S. birth control pill, Enovid, in the 1950s. The clinical trials of Enovid are part of a long history of forced sterilization and reproductive coercion in the U.S. that includes programs under Franklin D. Roosevelt’s 1936 Puerto Rican Relief Administration, which targeted low income, unemployed and uneducated women who were coerced to comply in order to obtain work in the burgeoning needlework and textile industries. Enovid research and trials were conducted under the guidance of legendary birth control activist and Planned Parenthood founder Margaret Sanger. Un día como hoy is an historical reminder of our current moment, as evidenced by recent news of the forced sterilization of immigrant women by the U.S. Immigration and Customs Enforcement (ICE) exposed by Dawn Wooten, a licensed practical nurse at the Georgia ICE detention facility. NATALIA ALMONTE Ombligo (The Pill Series), 2019 Digital print, 25 1/4” x 20 1/4” Courtesy of the artist $950 Natalia Almonte created works in The Pill Series, three of which are from her grandmother’s Polaroids, with symbolic imagery and materials such as eggshell membrane protein. -
Records of the National Association of Colored Women's Clubs, 1895–1992
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 August Meier In cooperation with RESEARCH COLLECTIONS IN WOMEN’S STUDIES General Editors: Anne Firor Scott and William H. Chafe RECORDS OF THE NATIONAL ASSOCIATION OF COLORED WOMEN’S CLUBS, 1895–1992 PART 2: President’s Office Files, 1958–1968 Consulting Editor Lillian Serece Williams Department of Women’s Studies The University at Albany State University of New York Associate Editor and Guide Compiled by Randolph Boehm 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 Records of the National Association of Colored Women’s Clubs, 1895–1992 [microform] / consulting editor, Lillian Serece Williams ; associate editor, Randolph Boehm. microfilm reels. — (Black studies research sources in cooperation with Research collections in women’s studies) Accompanied by printed reel guide compiled by Randolph Boehm, entitled: A guide to the microfilm edition of Records of the National Association of Colored Women’s Clubs, 1895–1992. Contents: pt. 1. Minutes of national conventions, publications, and president’s office correspondence—pt. 2. President’s Office Files, 1958–1968. ISBN 1-55655-504-0 (pt. 2 : microfilm) 1. National Association of Colored Women’s Clubs (U.S.)—Archives. 2. Afro-American women—Societies and clubs—History—20th century— Sources. 3. Afro-Americans—Societies, etc.—History—20th century—Sources. I. Williams, Lillian Serece. II. Boehm, Randolph. III. National Association of Colored Women’s Clubs (U.S.). -
The Anti-Lynching Crusaders: a Study of Black Women’S Activism
THE ANTI-LYNCHING CRUSADERS: A STUDY OF BLACK WOMEN’S ACTIVISM by TIFFANY A. PLAYER (Under the Direction of Diane Batts Morrow) ABSTRACT In June 1922, the Anti-Lynching Crusaders created a mass social movement, led by black women, to eradicate lynching. Over the course of six months, ALC leaders, under the auspices of the NAACP, mobilized a network of experienced club and church women to harness the anger and vulnerability of the black community into a viable reform endeavor, to influence the moral consciousness of white Americans and to secure passage of the Dyer Anti-Lynching Bill. Led by veteran clubwoman, Mary Burnett Talbert, members used prayers, newspaper ads, and community gatherings to compel its biracial audiences to broaden their view of lynching from a regional race problem to an issue of national import. They also pledged to raise one million dollars and mobilize one million supporters. The ALC used religious and moralistic language to refute any rationale for race violence. Their efforts succeeded in broadening the base of anti- lynching supporters. INDEX WORDS: Anti-Lynching Crusaders, Black women’s reform, Anti-Lynching Reform, NAACP, Dyer Anti-Lynching Bill, Mary B. Talbert THE ANTI-LYNCHING CRUSADERS: A STUDY OF BLACK WOMEN’S ACTIVISM by TIFFANY A. PLAYER B.A., Rice University, 1996 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2008 © 2008 Tiffany A. Player All Rights Reserved THE ANTI-LYNCHING CRUSADERS: A STUDY OF BLACK WOMEN’S ACTIVISM by TIFFANY A. -
Martin Luther King
Martin Luther King http://blog.biographyonline.net/2009/01/famous-black-people-who-changed-world.html http://www.history.com/topics/black-history/martin-luther-king-jr Nelson Mandela http://blog.biographyonline.net/2009/01/famous-black-people-who-changed-world.html http://www.history.com/topics/nelson-mandela Muhammad Ali http://blog.biographyonline.net/2009/01/famous-black-people-who-changed-world.html http://www.biography.com/people/muhammad-ali-9181165 Jackie Robinson http://www.history.com/topics/black-history/jackie-robinson https://www.historicacanada.ca/content/heritage-minutes/jackie-robinson Malcom X http://blog.biographyonline.net/2009/01/famous-black-people-who-changed-world.html http://www.history.com/topics/black-history/malcolm-x Rosa Parks http://blog.biographyonline.net/2009/01/famous-black-people-who-changed-world.html http://www.history.com/topics/black-history/rosa-parks Harriet Tubman http://womenshistory.about.com/od/harriettubman/a/tubman_slavery.html http://www.history.com/topics/black-history/harriet-tubman http://www.youtube.com/embed/nQ2Kbk4QTGU Jessie Owens https://www.biographyonline.net/sport/athletics/jesse-owens.html https://www.biography.com/people/jesse-owens-9431142 http://www.history.com/news/10-things-you-may-not-know-about-jesse-owens https://www.youtube.com/watch?v=U5DNJdVboLo Oprah Winfrey https://www.biography.com/people/oprah-winfrey-9534419 https://www.biographyonline.net/humanitarian/oprah-winfrey.html https://www.youtube.com/watch?v=Xf8i5iLCYEM Jay Z https://www.thefamouspeople.com/profiles/shawn-corey-carter-1772.php -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title “Wond’rous Machines”: How Eighteenth-Century Harpsichords Managed the Human-Animal, Human-Machine Boundaries Permalink https://escholarship.org/uc/item/2c83x38q Author Bonczyk, Patrick David-Jung Publication Date 2021 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles “Wond’rous Machines”: How Eighteenth-Century Harpsichords Managed the Human-Animal, Human-Machine Boundaries A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Patrick David-Jung Bonczyk 2021 © Copyright by Patrick David-Jung Bonczyk 2021 ABSTRACT OF THE DISSERTATION “Wond’rous Machines”: How Eighteenth-Century Harpsichords Managed the Human-Animal, Human-Machine Boundaries by Patrick David-Jung Bonczyk Doctor of Philosophy in Musicology University of California, Los Angeles, 2021 Professor Mitchell Bryan Morris, Chair The tenuous boundaries that separate humans, animals, and machines fascinate and sometimes unsettle us. In eighteenth-century France, conceptions of what differentiates humans from animals and machines became a sustained topic of interest in spaces that were public and private, recreational and intellectual. This dissertation argues that eighteenth-century harpsichords were porous sites where performers, composers, artisans, academics, and pedagogues negotiated the limits of these fragile boundaries. French harpsichords are at the center of my dissertation because they embodied an experimental collision of animal parts and other biomatter, complex machinery, and visual and musical performance. Taken together, I consider the ways that instruments had social import apart from sound production alone, expanding the definition of ii “instrument” beyond traditional organological studies of style in craftsmanship and musical aesthetics. -
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. -
Lou Bellamy 2006 Distinguished Artist
Lou Bellamy 2006 Distinguished Artist Lou Bellamy 2006 Distinguished Artist The McKnight Foundation Introduction spotlight is a funny thing. It holds great potential to expose and clarify whatever lies within its glowing circle—but for that to happen, eyes outside the pool of light must be focused Aon what’s unfolding within. Theater gains meaning only through the community that generates, participates in, and witnesses it. For McKnight Distinguished Artist Lou Bellamy and his Penumbra Theatre Company, using one’s talents to connect important messages to community is what art is all about. Bellamy believes that theater’s purpose is to focus the community’s attention and engage people in the issues we face together. He relishes the opportunity life has presented to him: to work in an African American neighborhood and develop art responsive to that neighborhood, while presenting ideas that are universal enough to encourage a world of diverse neighborhoods to take notice. This is not a spectator sport. Bellamy is a strong proponent of active art, art driven to do something. Ideally, audience members should see what’s onstage and listen to the message, then carry that message with them when they leave the theater. “You put all these people in a room,” he has said, “turn out the lights, and make them all look at one thing. You’ve got something powerful in that room.” More than 40,000 people experience that power annually, in Penumbra’s 265-seat theater in St. Paul. Universal messages are not crafted through European American templates only, and Bellamy recognizes that presenting a multifaceted reality means showing all the rays of light that pass through it.