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Evenings for Educators 2018–19
^ Education Department Evenings for Educators Los Angeles County Museum of Art 5905 Wilshire Boulevard 2018–19 Los Angeles, California 90036 Charles White Charles White: A Retrospective (February 17–June 9, involved with the WPA, White painted three murals in 2019) is the first major exhibition of Charles White’s Chicago that celebrate essential black contributions work in more than thirty-five years. It provides an to American history. Shortly thereafter, he painted the important opportunity to experience the artist’s mural The Contribution of the Negro to Democracy in work firsthand and share its powerful messages with America (1943), discussed in detail in this packet. the next generation. We are excited to share the accompanying curriculum packet with you and look After living in New York from 1942 until 1956, White forward to hearing how you use it in your classrooms. moved to Los Angeles, where he remained until his passing in 1979. Just as he had done in Chicago Biography and New York, White became involved with local One of the foremost American artists of the twentieth progressive political and artistic communities. He century, Charles White (1918–1979) maintained produced numerous lithographs with some of Los an unwavering commitment to African American Angeles’s famed printing studios, including Wanted subjects, historical truth, progressive politics, and Poster Series #14a (1970), Portrait of Tom Bradley social activism throughout his career. His life and (1974), and I Have a Dream (1976), which are work are deeply connected with important events included in this packet. He also joined the faculty and developments in American history, including the of the Otis Art Institute (now the Otis College of Great Migration, the Great Depression, the Chicago Art and Design) in 1965, where he imparted both Black Renaissance, World War II, McCarthyism, the drawing skills and a strong social consciousness to civil rights era, and the Black Arts movement. -
Malcolm X and United States Policies Towards Africa: a Qualitative Analysis of His Black Nationalism and Peace Through Power and Coercion Paradigms
Malcolm X and United States Policies towards Africa: A Qualitative Analysis of His Black Nationalism and Peace through Power and Coercion Paradigms by Abdul Karim Bangura, Ph.D. [email protected] Researcher-in-Residence, Abrahamic Connections and Islamic Peace Studies at the Center for Global Peace, American University; Director, The African Institution; Professor, Research Methodology and Political Science; Coordinator, National Conference on Undergraduate Research initiative at Howard University, Washington, DC; External Reader of Research Methodology at the Plekhanov Russian University, Moscow; Inaugural Peace Professor for the International Summer School in Peace and Conflict Studies at the University of Peshawar in Pakistan; and International Director and Advisor to the Centro Cultural Guanin in Santo Domingo Este, Dominican Republic. The author is also the author of more than 75 books and more than 600 scholarly articles. The winner of more than 50 prestigious scholarly and community service awards, among Bangura’s most recent awards are the Cecil B. Curry Book Award for his African Mathematics: From Bones to Computers; the Diopian Institute for Scholarly Advancement’s Miriam Ma’at Ka Re Award for his article titled “Domesticating Mathematics in the African Mother Tongue” published in The Journal of Pan African Studies (now Africology: The Journal of Pan African Studies); the Special United States Congressional Award for “outstanding and invaluable service to the international community;” the International Center for Ethno- Religious Mediation’s Award for his scholarly work on ethnic and religious conflict resolution and peacebuilding, and promotion of peace and conflict resolution in conflict areas; and the Moscow Government Department of Multicultural Policy and Intergrational Cooperation Award for the scientific and practical nature of his work on peaceful interethnic and interreligious relations. -
Where Stars Are Born and Legends Are Made™
Where Stars are Born and Legends are Made™ The Apollo Theater Study Guide is published by the Education Program of the Apollo Theater in New York, NY | Volume 2, Issue 1, November 2010 If the Apollo Theater could talk, imagine the stories it could tell. It The has witnessed a lot of history, and seen a century’s worth of excitement. The theater itself has stood proudly on 125th Street since 1914, when it started life as a burlesque house for whites only, Hurtig & Seamon’s New Burlesque Theater. Dancers in skimpy costumes stripped down to flesh-colored leotards, and comics told bawdy jokes – that is, until then New York City Mayor Fiorello H. LaGuardia made the decision to close down burlesque houses all over the city. When the doors of the burlesque theaters were padlocked, the building was sold. By S ul the time it reopened in 1934, a new name proclaimed itself from the marquee: the 125th Street Apollo Theatre. From the start, the Apollo was beloved by Harlemites, and immediately of became an integral part of Harlem life. When the Apollo first opened, Harlem boasted a lot of theaters and clubs. But many didn’t admit black audiences. Though the musicians who played in the clubs were black, the audiences were often white; the country still had a lot to American learn about integration. But the Apollo didn’t play primarily to whites. As soon as it opened its doors, black residents of Harlem streamed in themselves to enjoy the show. In the early years, the Apollo presented acts in a revue format, with a variety of acts on each bill. -
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. -
Morningside Heights Upper West Side Central Park
Neighborhood Map ¯ Manhattanville Salem United 601 Junior High School 499 431 429 401 305 299 Methodist Church 199 101 99 1 555 W 129 Street W 129 Street W 129 Street W 129 Street Harlem Village Manhattanville National Jazz Museum Green 556 Health Center St. Nicholas in Harlem Edward P. Bowman 2168 3219 Sheltering Arms 30 29 25 Park 368 369 Broadway 601 2401 2406 Amsterdam Bus Depot 2094 3200 Playground Park Rev. Linnette C. Williamson Metropolitan Church of Memorial Park St. Nicholas Baptist Church Jesus Christ of Collyer Brothers 401 Unity Park 12 439 399 301 Playground South 101 Latter-day Saints Park W 126 Street 567 11 St. Nicholas Houses Amsterdam Avenue Amsterdam W 128 Street W 128 Street W 128 Street Convent Avenue St. Nicholas Avenue Old Broadway Blvd Douglass Frederick 559 M2 1361 14 LTD M2 3181 M3 499 M10 LTD 5 6 Maysles 2066 M3 M10 348 M2 Documentary 2160 M2 St. Andrew’s 1 Center 125 St Bx15 Episcopal Church M104 M101 299 201 W 125 StreetBx15 LTD 401 399 363 357 349 301 199 101 99 1 LTD Terrace Nicholas St. M101 W 127 Street W 127 Street W 127 Street M11 LTD Bx15 M100 M104 Bx15 M101 439 LTD M11 04 1 501 M100 M M101 M7 M104 M104 M102 M7 167 166 327 332 2130 2133 2358 2359 Clayton M102 2050 George Bruce 499 3170 William B. Williams 8 Avenue 8 Library Avenue 5 Washington Community Avenue Lenox 401 399 349 Garden Garden 299 201 199 101 99 1 Malcolm X Boulevard W 126 Street W 126 Street W 126 Street Broadway General Grant Houses Adam Clayton Powell, Jr. -
LEGEND Location of Facilities on NOAA/NYSDOT Mapping
(! Case 10-T-0139 Hearing Exhibit 2 Page 45 of 50 St. Paul's Episcopal Church and Rectory Downtown Ossining Historic District Highland Cottage (Squire House) Rockland Lake (!304 Old Croton Aqueduct Stevens, H.R., House inholding All Saints Episcopal Church Complex (Church) Jug Tavern All Saints Episcopal Church (Rectory/Old Parish Hall) (!305 Hook Mountain Rockland Lake Scarborough Historic District (!306 LEGEND Nyack Beach Underwater Route Rockefeller Park Preserve Rockefeller Park Preserve Rockefeller Park Preserve CP Railroad ROW Rockefeller Park Preserve Rockefeller Park Preserve CSX Railroad ROW Rockefeller Park Preserve (!307 Rockefeller Park Preserve Rockefeller Park Preserve NYS Canal System, Underground (! Rockefeller Park Preserve Milepost Rockefeller Park Preserve Rockefeller Park Preserve Rockefeller Park Preserve )" Sherman Creek Substation Rockefeller Park Preserve Rockefeller Park Preserve Methodist Episcopal Church at Nyack *# Yonkers Converter Station Rockefeller Park Preserve Upper Nyack Firehouse ^ Mine Rockefeller Park Preserve Van Houten's Landing Historic District (!308 Park Rockefeller Park Preserve Union Church of Pocantico Hills State Park Hopper, Edward, Birthplace and Boyhood Home Philipse Manor Railroad Station Untouched Wilderness Dutch Reformed Church Rockefeller, John D., Estate Historic Site Tappan Zee Playhouse Philipsburg Manor St. Paul's United Methodist Church US Post Office--Nyack Scenic Area Ross-Hand Mansion McCullers, Carson, House Tarrytown Lighthouse (!309 Harden, Edward, Mansion Patriot's Park Foster Memorial A.M.E. Zion Church Irving, Washington, High School Music Hall North Grove Street Historic District DATA SOURCES: NYS DOT, ESRI, NOAA, TDI, TRC, NEW YORK STATE DEPARTMENT OF Christ Episcopal Church Blauvelt Wayside Chapel (Former) First Baptist Church and Rectory ENVIRONMENTAL CONSERVATION (NYDEC), NEW YORK STATE OFFICE OF PARKS RECREATION AND HISTORICAL PRESERVATION (OPRHP) Old Croton Aqueduct Old Croton Aqueduct NOTES: (!310 1. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
Jacksonville Civil Rights History Timelinetimeline 1St Revision 050118
Jacksonville Civil Rights History TimelineTimeline 1st Revision 050118 Formatted: No underline REVISION CODES Formatted: Underline Formatted: Centered Strike through – delete information Yellow highlight - paragraph needs to be modified Formatted: Highlight Formatted: Centered Green highlight - additional research needed Formatted: Highlight Formatted: Highlight Grey highlight - combine paragraphs Formatted: Highlight Light blue highlight – add reference/footnote Formatted: Highlight Formatted: Highlight Grey highlight/Green underline - additional research and combine Formatted: Highlight Formatted: Highlight Red – keep as a reference or footnote only Formatted: Highlight Formatted: Thick underline, Underline color: Green, Highlight Formatted: Thick underline, Underline color: Green, Highlight Formatted: Highlight Formatted: No underline, Underline color: Auto Page 1 of 54 Jacksonville Civil Rights History TimelineTimeline 1st Revision 050118 Formatted: Font: Not Bold 1564 Fort Caroline was built by French Huguenots along St. Johns Bluff under the Formatted: Font: Not Bold, Strikethrough command of Rene Goulaine de Laudonniere. The greater majority of the settlers Formatted: Strikethrough were also Huguenots, but were accompanied by a small number of Catholics, Formatted: Font: Not Bold, Strikethrough agnostic and “infidels”. One historian identified the “infidels” as freemen from Formatted: Strikethrough Africa. Formatted: Font: Not Bold, Strikethrough Formatted: Strikethrough 1813 A naturalized American citizen of British ancestry, Zephaniah Kingsley moved to Formatted: Font: Not Bold, Strikethrough Fort George Island at the mouth of the St. Johns River. Pledging allegiance to Formatted: Strikethrough Spanish authority, Kingsley became wealthy as an importer of merchant goods, Formatted: Font: Not Bold, Strikethrough seafarer, and slave trader. He first acquired lands at what is now the City of Orange Formatted: Strikethrough Park. There he established a plantation called Laurel Grove. -
Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement
Bearing the Seeds of Struggle: Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement Ian Rocksborough-Smith BA, Simon Fraser University, 2003 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF MASTER OF ARTS In the Department of History O Ian Rocksborough-Smith 2005 SIMON FRASER UNIVERSITY Summer 2005 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. APPROVAL Name: Ian Rocksborough-Smith Degree: Masters of Arts Title of Thesis: Bearing the Seeds of Struggle: Freedomways Magazine, Black Leftists, and Continuities in the Freedom Movement Examining Committee: Chair: Dr. John Stubbs ProfessorIDepartment of History Dr. Karen Ferguson Senior Supervisor Associate ProfessorIDepartment of History Dr. Mark Leier Supervisor Associate ProfessorIDepartment of History Dr. David Chariandy External ExaminerISimon Fraser University Assistant ProfessorIDepartment of English Date DefendedlApproved: Z.7; E0oS SIMON FRASER UNIVERSITY PARTIAL COPYRIGHT LICENCE The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection. The author has further agreed that permission for multiple copying of this work for scholarly purposes may be granted by either the author or the Dean of Graduate Studies. -
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. -
Introduced Reprint
2012 SPECIAL SESSION I INTRODUCED REPRINT 12200193D INTRODUCED 1 HOUSE JOINT RESOLUTION NO. 5028 2 Offered May 10, 2012 3 Commending Horace Julian Bond. 4 ±±±±±±±±±± Patrons±±Toscano, BaCote, Bulova, Carr, Dance, Filler-Corn, Herring, Hope, Howell, A.T., James, Joannou, Johnson, Keam, LeMunyon, Lewis, Lopez, McClellan, McQuinn, Morrissey, Rust, Scott, J.M., Sickles, Spruill, Surovell, Tyler, Ward, Ware, O., and Watts; Senators: Barker, Colgan, Deeds, Ebbin, Edwards, Favola, Herring, Howell, Locke, Marsden, Marsh, McEachin, Miller, J.C., Miller, Y.B., Northam, Petersen, Puckett, and Puller 5 ±±±±±±±±±± 6 WHEREAS, Horace Julian Bond was born in Nashville, Tennessee, in January 1940; and 7 WHEREAS, Mr. Bond©s involvement in pursuing equal rights and opportunities for all people can be 8 traced back to his time as a leader and student at Morehouse College in the 1960s, when he led 9 nonviolent sit-ins that eventually resulted in the integration of businesses such as movie theaters and 10 restaurants; and 11 WHEREAS, Mr. Bond©s contributions to advancing Civil Rights include many leadership roles, 12 including as a founder of the Student Nonviolent Coordinating Committee, chairman and chairman 13 emeritus of the National Association for the Advancement of Colored People, and president emeritus of 14 the Southern Poverty Law Center; and 15 WHEREAS, Mr. Bond is a member of the Smithsonian©s National Museum of African American 16 History and Culture Civil Rights History Project Advisory Panel, an Associate in Harvard University©s 17 W.E.B. Du Bois Institute for African and African-American Research, and a member of the National 18 Center for Civil and Human Rights Global Advisory Board; and HJ5028 19 WHEREAS, Mr.