HACSA Summit Brochure Update.Indd

Total Page:16

File Type:pdf, Size:1020Kb

HACSA Summit Brochure Update.Indd 7th - 9th August, 2019 KEMPINSKI HOTEL, ACCRA Linking, Reconciling and Reuniting Communities 400 Years after the start of the Transatlantic Slave Trade. #400YearsOn YEARS ON Sponsors & Partners (HACSA) “Let the competition beware” THE HACSA SUMMIT 2019 For updates, pictures and biographies of speakers, visit www.thehacsa.org i Contents (HACSA) Page 01 Goodwill Message - Ambassador Johanna Odonkor Svanikier Page 03 Speach - Hon. Barbara Oteng Gyasi Page 05 Letter from UNESCO Page 06 About HACSA Page 07 About the Summit Page 08 Summit Structure Page 09 About Ghaha Page 10 Programme Order Page 17 Lifetime achievement awards Page 19 Speakers Page 26 GIRLS CAN CODE Page 27 About Sponsors Page 30 Advertisment THE HACSA SUMMIT 2019 For updates, pictures and biographies of speakers, visit www.thehacsa.org ii Good Will Message (HACSA) Ambassador Johanna Odonkor Svanikier President, Heritage and Cultural Society of Africa A warm welcome to the HACSA Summit 2019! Conference and brought people from all over the In 2016 while I was working as Ambassador of Diaspora to Ghana to debate these issues. Ghana to UNESCO I had 3 major concerns: Elmina Castle or ‘The Mine’ in Portuguese, was 1. The history of Ghana and especially how it was built in 1482 when the first Europeans came to the related to the African diaspora and all peoples of shores of what is now modern day Ghana in search African descent was not being told. We needed of gold. They brought guns for sale which led to to tell our own stories! the proliferation of war amongst ethnic groups and resulted in the capture of many prisoners of 2. The main stakeholders of the monuments war. This was a catalyst for the development of which bear witness to the transatlantic slave the devastating transatlantic slave trade which trade were in the diaspora, far away, separated was then followed by colonialism. Finally it was in and unaware of these forts and castles which litter Ghana again, the very same place they arrived, the coast of Ghana and the challenges involved that the liberation of Africa and peoples of African in and the imperative for preserving them. We descent began. In my speech of 2017 I referred needed to reconnect with the Diaspora! to this as “the Full Circle”! 3. The rich living heritage and culture of Africa Ghana’s independence celebrations were in general and Ghana in particular was not attended by people from all over the diaspora. being used sufficiently for the socioeconomic Some even came to settle here. People like betterment of its people. We needed to change WEB Dubois, Martin Luther King, Maya Angelou, that and make technological innovation and Muhammed Ali, Malcom X, Kwame Touré and women’s empowerment a part of that culture! Nina Simon all passed through Ghana. Many were inspired by the way Nkrumah had mobilised These 3 concerns are the main reasons HACSA Ghanaians to demand their independence and was founded in 2016. In 2017 we held the first returned to kick start the civil rights movement in HACSA Summit to address some of these issues. their own homeland. We called it The African Diaspora Homecoming THE HACSA SUMMIT 2019 For updates, pictures and biographies of speakers, visit www.thehacsa.org 01 Good Will Message cont’d (HACSA) The impact of the HACSA Summit in 2017 which Presentation of HACSA Sankofa Lifetime we at HACSA organised to commemorate 60 Achievement Awards, over 60 amazing speakers Years of Ghana’s Independence has been truly and much more! far-reaching. The vision is finally being realised with the “Full Circle Festival” and the Declaration Our heartfelt thanks go to our sponsors and of “The Year of Return” both occurring last year. patrons who have made this all possible. Our Last week the Congressional Black Caucus made thanks also go to our selfless volunteers and a symbolic ‘Year of Return’ visit to Ghana and service providers, our trustees and advisory I was privileged to witness the moving speech councils in Ghana and abroad. I also give thanks given by Speaker Nancy Pelosi in the Ghanaian to my husband, children and wider HACSA Parliament. family. Yes HACSA is a family and if you’re here today we hope you will join the HACSA family! I Since it was founded, HACSA has organised know the great sacrifices you have all made to book launches, musical concerts and festivals, be here. You’re all sponsors of HACSA. Thank exhibitions of art, photography, made in Africa you all so much! I’d like to leave you with a quote goods and archaeological relics. Home made from Joel Ruffin one of the newest members of brands like Smockyworld, Red Cotton, Kaeme the HACSA family who will be a speaker at the Shea butter, Decocraft chocolates and Judy HACSA Summit 2019: Foods have benefitted from the consistent patronage, endorsement and exposure given to “HACSA is a Movement!”, “HACSA Delivers!” them by HACSA. We also have taken tours to “HACSA creates, designs and delivers liberating many regions of Ghana creating and promoting and empowering social, cultural and technological new tourist trails around the country. One of experiences, leaving you whole, complete and our proudest initiatives is the Girls Can Code aligned”. programme which we partnered with UNESCO to deliver. 150 girls in government schools in 5 We are finally telling our stories! different regions of Ghana have been trained to We are finally reconnecting with the Diaspora! build websites and make animated short films. We are finally leveraging our heritage and culture We hope to grow this project to new heights. In for socioeconomic progress and are empowering addition HACSA has facilitated the first visits and women and girls through technology! even moves to Ghana of many in the diaspora. The vision is being realised! Please help to keep HACSA alive! At The HACSA Summit 2019, We are offering you a packed programme: An archaeological exhibition, an Investment Trade and Innovation Exposition, a Corporate Lunch, a Girls Can Code Workshop & Roundtable, a Gala evening, A Welcome and Remembrance Ceremony, THE HACSA SUMMIT 2019 For updates, pictures and biographies of speakers, visit www.thehacsa.org 02 Address (HACSA) by Hon. Barbara Oteng Gyasi Minister of Tourism, Arts & Culture YOUR EXCELLENCY JEWEL HOWARD industry, innovation and infrastructure, SDG 11.4 TAYLOR VICE PRESIDENT OF THE REPUBLIC protect the world’s cultural and natural heritage, OF LIBERIA SDG 17 partnerships for the goals. HONOURABLE MINISTERS HONOURABLE MEMBERS OF PARLIAMENT Ladies and Gentlemen YOUR EXCELLENCIES MEMBERS OF THE The year 2019 symbolically marks 400 years DIPLOMATIC CORPS since the beginning of the trade in enslaved DISTINGUISHED GUESTS Africans in the US. It is a time for remembrance, DISTINGUISHED SPEAKERS AND sober reflection and commemoration of those PARTICIPANTS OF THE 2019 HACSA SUMMIT who suffered untold anguish and whose lives LADIES AND GENTLEMEN were destroyed in the process, and for the rebuilding of communities that were affected by Good morning and welcome to the international this scourge. The HACSA Summit 2019, aims to HACSA Summit 2019. The Heritage and Cultural re-unite, reconcile and link communities that were Society of Africa Summit 2019 is organised in directly or indirectly affected by the transatlantic line with the UN international decade for people slave trade. of African descent and officially endorsed by UNESCO, the Year of Return, Ghana 2019 and In the last two years of its existence HACSA has the Ministry of Tourism, Ghana. HACSA seeks organised the African Diaspora Homecoming to promote and celebrate African heritage and Conference to Commemorate Ghana’s 60th culture for socioeconomic development and Anniversary in a meaningful and significant way, poverty alleviation in Africa. HACSA is a volunteer- undertaken several exhibitions promoting African led non-profit NGO and social enterprise founded Art, crafts and photography, has assisted in 2 book by Ambassador Johanna Odonkor Svanikier in launches, has held several concerts showcasing 2016. HACSA advocates for the preservation of the best in African music and organised tours heritage and culture, showcases excellence in to heritage sites around the country. HACSA Africa and the diaspora and promotes African- continuously advocates for the preservation and made goods and services. It’s ethos is inspired conservation of historic buildings and heritage by the activities of UNESCO and is in line with the sites and the safeguarding of our intangible UN Sustainable Development Goals and Targets; heritage and culture. It is the goal of HACSA to in particular SDG 5 gender equality; SDG 8 project the richness and beauty of Africa to the decent work and economic growth, SDG 9 world, vibrantly visible in our language, people, THE HACSA SUMMIT 2019 For updates, pictures and biographies of speakers, visit www.thehacsa.org 03 Address cont’d (HACSA) traditions and land. objectives and goals are consistent with the 17 Sector goals of the SDG. Prominent among the Ladies and Gentlemen programmes being implemented are the Tourism Knowledge and promotion of our culture and Product Development Programmed which seeks heritage provides flourishing avenues for tourism to improve on already existing events such as and revenue generation. HACSA has led the way PANAFEST, EMANCIPATION DAY, Paragliding with its pioneering work to enrich government Festival and our Festivals to draw tourists into policy on heritage and culture by inspiring the the country. Year of Return and The Full Circle Festival. It successfully led the way by bringing the African Also, Government under a World Bank assistance Diaspora back home in March 2017 to reengage is embarking on the renovation and rehabilitation with the continent. of existing tourism facilities, particularly the Heritage sites, Forts and Castles located in the Throughout the Summit you as opinion leaders, country.
Recommended publications
  • ANNUAL REVIEW 2015 -16 the RSC Acting Companies Are Generously Supported by the GATSBY CHARITABLE FOUNDATION and the KOVNER FOUNDATION
    ANNUAL REVIEW 2015 -16 The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION. Hugh Quarshie and Lucian Msamati in Othello. 2015/16 has been a blockbuster year for Shakespeare and for the RSC. 400th anniversaries do not happen often and we wanted to mark 2016 with an unforgettable programme to celebrate Shakespeare’s extraordinary legacy and bring his work to a whole new generation. Starting its life in Stratford-upon-Avon, Tom Morton-Smith about Oppenheimer, we staged A Midsummer Night’s a revival of Miller’s masterpiece Dream in every nation and region Death of a Salesman, marking his of the UK, with 84 amateurs playing centenary, and the reopening of Bottom and the Mechanicals and The Other Place, our new creative over 580 schoolchildren as Titania’s hub. Our wonderful production of fairy train. This magical production Matilda The Musical continued on has touched the lives of everyone its life-enhancing journey, playing involved and we are hugely grateful on three continents to an audience to our partner theatres, schools and of almost 2 million. the amateur companies for making this incredible journey possible. Our work showcased the fabulous range of diverse talent from across We worked in partnership with the the country, and we are proud of the BBC to bring ‘Shakespeare Live! From increasing diversity of our audiences. the RSC’ to a television audience of 1.6m and to cinema audiences in People sometimes ask if Shakespeare 15 countries. The glittering cast is still relevant. The response from performed in the Royal Shakespeare audiences everywhere has been a Theatre to an audience drawn from resounding ‘yes’.
    [Show full text]
  • Universidade Federal De Santa Catarina Pós-Graduação Em Letras/Inglês E Literatura Correspondente
    UNIVERSIDADE FEDERAL DE SANTA CATARINA PÓS-GRADUAÇÃO EM LETRAS/INGLÊS E LITERATURA CORRESPONDENTE SHAKESPEARE IN THE TUBE: THEATRICALIZING VIOLENCE IN BBC’S TITUS ANDRONICUS FILIPE DOS SANTOS AVILA Supervisor: Dr. José Roberto O’Shea Dissertação submetida ao Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente da Universidade Federal de Santa Catarina em cumprimento parcial dos requisitos para obtenção do grau de MESTRE EM LETRAS FLORIANÓPOLIS MARÇO/2014 Agradecimentos CAPES pelo apoio financeiro, sem o qual este trabalho não teria se desenvolvido. Espero um dia retribuir, de alguma forma, o dinheiro investido no meu desenvolvimento intelectual e profissional. Meu orientador e, principalmente, herói intelectual, professor José Roberto O’Shea, por ter apoiado este projeto desde o primeiro momento e me guiado com sabedoria. My Shakespearean rivals (no sentido elisabetano), Fernando, Alex, Nicole, Andrea e Janaína. Meus colegas do mestrado, em especial Laísa e João Pedro. A companhia de vocês foi de grande valia nesses dois anos. Minha grande amiga Meggie. Sem sua ajuda eu dificilmente teria terminado a graduação (e mantido a sanidade!). Meus professores, especialmente Maria Lúcia Milleo, Daniel Serravalle, Anelise Corseuil e Fabiano Seixas. Fábio Lopes, meu outro herói intelectual. Suas leituras freudianas, chestertonianas e rodrigueanas dos acontecimentos cotidianos (e da novela Avenida Brasil, é claro) me influenciaram muito. Alguns russos que mantém um site altamente ilegal para download de livros. Sem esse recurso eu honestamente não me imaginaria terminando essa dissertação. Meus amigos. Vocês sabem quem são, pois ouviram falar da dissertação mais vezes do que gostariam ao longo desses dois anos. Obrigado pelo apoio e espero que tenham entendido a minha ausência.
    [Show full text]
  • Abena Busia Oral History Content Summary
    Abena Busia Oral History Content Summary Track 1 [duration: 1:35:50] [session one: 18 March 2016] [00:00] Abena Busia [AB] Born in Ghana. Describes spending most of childhood in exile, living in The Netherlands, Mexico. Move to Standlake, Windrush Valley, Oxfordshire, United Kingdom (UK) aged nine. Attendance of Standlake Church of England Primary School. Mentions Headmaster, Gordon Snelling for teaching that ‘everybody could be a poet’. Describes love of poetry, music, words in household. Mentions Witney Grammar School (now The Henry Box School), Headington School. Father, Kofi Abrefa Busia, Leader of the Opposition to Kwame Nkrumah during Ghana’s Independence. Mentions father university professor on sabbatical, Institute of Social Studies, The Hague. Anecdote about father as ‘praying person’. Describes father as staunch Methodist with purely Methodist education from primary school in Wenchi, Ghana, to Oxford University, UK. [05:08] Story about fleeing Ghana by ship aged six with mother and three siblings, borders closed in search of AB’s father. Remarks on mother’s bravery. Mentions Kwame Nkrumah University of Science and Technology, Kumasi, Ghana, Freetown, Sierra Leone, Clarks shoes, British Press, Elder Dempster Line. [11:14] Reflects on excitement of journey as a child. Mentions Rowntree’s Fruit Gums, learning to dance the Twist, films ‘Dr. No’, ‘She didn’t say No!’, ‘The Blue Angel’, ‘The Ten Commandments’, Elder Dempster Line SS Accra 3, SS Apam. [15:00] Recollections from early years in Ghana, growing up on University of Ghana campus. Mentions Fuchsia, Gladioli. Story about recurring memory of friend Susan Niculesku, Akwaaba doll. Describes having two exiles, first returning in 1966 after living in The Netherlands and Mexico.
    [Show full text]
  • A Midsummer Night's Dream
    CLASSIC DRAMA UNABRIDGED William Shakespeare A Midsummer Night’s Dream With Warren Mitchell Michael Maloney Sarah Woodward and full cast 1 Music and opening announcement 1:21 2 Act 1 Scene 1 6:20 3 Act 1 Scene 1: LYSANDER How now my love, why is your cheek so pale? 5:11 4 Act 1 Scene 1: HELENA How happy some o’er other some can be! 1:51 5 Musical interlude 0:49 6 Act 1 Scene 2 6:05 7 Musical interlude 1:06 8 Act 2 Scene 1 2:50 9 Act 2 Scene 1: OBERON Ill met by moonlight, proud Titania! 4:43 10 Act 2 Scene 1: OBERON Well, go thy way. Thou shalt not from this grove 2:20 11 Act 2 Scene 1: DEMETRIUS I love thee not, therefore pursue me not. 3:10 12 Act 2 Scene 1: OBERON I know a bank where the wild thyme blows 1:09 13 Musical interlude 1:43 14 Act 2 Scene 2 4:50 15 Act 2 Scene 2: PUCK Through the forest have I gone… 1:12 16 Act 2 Scene 2: HELENA Stay though thou kill me, sweet Demetrius! 3:32 2 17 Act 2 Scene 2: HERMIA Help me Lysander, Help me! 1:08 18 Closing music 1:49 19 Opening music 0:50 20 Act 3 Scene 1 7:29 21 Act 3 Scene 1: BOTTOM I see their knavery. This is to make an ass of me 5:16 22 Act 3 Scene 2 2:14 23 Act 3 Scene 2: DEMETRIUS O, why rebuke you him that loves you so? 2:38 24 Act 3 Scene 2: OBERON What hast thou done? Thou hast mistaken… 1:44 25 Act 3 Scene 2: LYSANDER Why should you think that I should woo… 3:52 26 Act 3 Scene 2: HELENA Lo, she is one of this confederacy 8:41 27 Act 3 Scene 2: OBERON This is thy negligence.
    [Show full text]
  • Bfi Presents Shakespeare on Film with Ian Mckellen
    BFI PRESENTS SHAKESPEARE ON FILM WITH IAN MCKELLEN BIGGEST EVER PROGRAMME OF SHAKESPEARE ON FILM IN THE UK AND ACROSS THE WORLD WITH THE BRITISH COUNCIL Ian McKellen live on stage to present re-mastered Richard III for UK wide simulcast, hosts London bus tours of Richard III’s iconic locations and opens Shanghai Film Festival with Shakespeare on Film International tour of 18 British films to 110 countries with British Council Play On! Shakespeare in Silent Cinema premieres at BFI Southbank with new live score by the Musicians of Shakespeare’s Globe New 4K restorations of Franco Zeffirelli’s Romeo and Juliet and Akira Kurosawa’s Ran Includes landmark films by Laurence Olivier, Orson Welles, Roman Polanski and Kenneth Branagh #ShakespeareLives / www.bfi.org.uk/shakespeare / www.shakespearelives.org Embargoed until 11:00 Monday 25 January 2016 As the world celebrates Shakespeare 400 years after his death, the BFI, the British Council and Ian McKellen today unveiled BFI Presents Shakespeare on Film. With no other writer impacting so greatly on cinema, this programme explores on an epic scale how filmmakers have adapted, been inspired by and interpreted Shakespeare’s work for the big screen. It incorporates screenings and events at BFI Southbank (April-May) and UK-wide, newly digitised content on BFI Player, new DVD/Blu-ray releases and film education activity. As part of Shakespeare Lives, the British Council and the GREAT Britain campaign’s major global programme for 2016, celebrating Shakespeare’s works and his influence on culture, education and society, the BFI has also curated an international touring programme of 18 key British Shakespeare films that will go to 110 countries – from Cuba to Iraq, Russia to the USA – the most extensive film programme ever undertaken.
    [Show full text]
  • BBC ONE Spring/Summer 2002 5 Drama
    Drama of Tony Blair, IT and gangsta rap can be strange DRAMA and comfortless, leaving these working-class heroes happy to try their luck at one more job. They cemented their friendships in Germany and Auf Wiedersehen, Pet Spain, and this new series takes the “cowboy” builders on an incredible journey from Middlesbrough to Arizona. “The timing seems absolutely right for the return of Auf Wiedersehen, Pet,” says Controller of Drama Commissioning, Jane Tranter. “The fact that all the original team have embraced it so enthusiastically demonstrates the power that the show still has to excite people. It’s moved on, in spirit and in time, and the maturity of the characters has brought a new edge and humour to the storytelling.” A BBC production for BBC ONE, Auf Wiedersehen, Pet is produced by Joy Spink and directed by Paul Seed. The executive producers are Laura Mackie and Franc Roddam. Being April Auf Wiedersehen, Pet, the hit drama of the Eighties, which followed the fortunes of an intrepid band of British brickies, returns to BBC ONE this spring. The production reunites the original cast of Jimmy Nail (Oz), Timothy Spall (Barry), Kevin Whately (Neville), Tim Healy (Dennis), Pat Roach (Bomber), Christopher Fairbank (Moxey) and newcomer Noel Clarke (Wyman), with original writers Dick Clement and Ian La Frenais and creator Franc Roddam. The last 15 years have been kinder to some of the lads than others. One drives a Bentley, another a taxi. Marriages have come and gone. But when Oz turns up with an irresistible offer, the “Magnificent Seven” find that the friendships they made on the road to Düsseldorf Three kids.
    [Show full text]
  • Tiata Fahodzi Info Pack and Job Description.Pages
    artistic director leadership programme spring 2017 “why keep going to the theatre if you seldom see yourself reflected there? Lyn Gardner, The Guardian 2014 !1 …gorgeous who we are theatre from a truly diverse company” Lenny Henry OBE tiata fahodzi (tee-ah-ta fa-hoon-zi) – a theatre company for Britain today and the Britain of tomorrow. tiata fahodzi was founded in 1997 by actor and director Femi Elufowoju Jnr. to tell stories about the African diaspora experience and to bring the richness and heritage of African theatre traditions to theatre-making here in the UK. Under his artistic directorship, the company sought to establish itself – project by project – through productions of contemporary texts by African writers, presented in London and sometimes regionally, offering a window into the West African experience – both back home and as immigrants to the UK. In 2010, actor Lucian Msamati became the company’s second Artistic Director. Earlier productions had told stories of emigration and diaspora (tickets and ties), and under Msamati the company’s work began to reflect on the relationship Britain and British Africans have with Africa. In late 2014, director Natalie Ibu took over as Artistic Director, and under her directorship we set ourselves to explore the mixed, multiple, multi- generational experience of what it is to be of African heritage in Britain today. In Natalie’s tenure, we continue to reflect the changing and developing diaspora with a particular interest in the dual and the in-between, in those who straddle worlds, cultures, languages, classes, heritages, races and struggles. It’s in this – the messy, the multiple and the complicated identity politics – that tiata fahodzi sits, acknowledging that our audiences are more complex and contrasting than ever.
    [Show full text]
  • Nicky Austin HAIR and MAKE-UP DESIGNER
    [email protected] 07903 703201 Nicky Austin HAIR AND MAKE-UP DESIGNER PRODUCTION COMPANY DIRECTOR PRODUCER FEATURING TED LASSO WARNER BROS. DECLAN LOWNEY BILL LAWRENCE Jason Sudeikis (COMEDY) APPLE TV TOM MARSHALL TINA PAWLIK Juno Temple HOME GROWN 12 TOWN LYNSEY MILLER HELEN GREGORY Daisy Fairclough (DRAMA) SKY TINA PAWLIK Abigail Laurie THE UNICORN DAYBREAK PENELOPE HAL VOGEL Romola Garai (SHORT) PICTURES SKINNER Ned Dennehy THE BREAK BBC ZAM SALIM RACHELLE David Ajala (DRAMA) CONSTANT Harley SylvesTer SUSPECTS NEWMAN ST. FIONA WALTON KARA MANLEY Damien Molony Series 3 (DRAMA) CHANNEL 5 PAUL MARQUESS Neil Stuke VIJAY CHOPRA TIGER ASPECT JOE EVANS PHILLIPPA CATT Gurpal Gill (COMEDY TEASER) Jayde Adams IDEAL WIFE SAVILLE PHILLIP PHILLIP Andrew Lee-PoTTs (SHORT) PICTURES SAVILLE SAVILLE Camilla Arfwedson MODERN MEDICINE NEWMAN ST. FIONA WALTON KARA MANLEY Dominic Power (PERIOD) PAUL MARQUESS Derek GriffiThs HAIR AND MAKE-UP HEAD OF PICK-UPS PRODUCTION COMPANY DIRECTOR DESIGNER FEATURING BROKEN CUBA RUFUS NORRIS FAY HAMMOND Cillian Murphy (FILM) PICTURES Tim RoTh, Lily James [email protected] 07903 703201 HAIR AND MAKE-UP SUPERVISOR PRODUCTION COMPANY DIRECTOR DESIGNER FEATURING CUFFS TIGER ASPECT KIERON HAWKES PIPPA WOODS Ashley WalTers (DRAMA) BBC BILL EAGLES Amanda AbbingTon HOLBY CITY BBC VARIOUS VARIOUS Rosie Marcel (DRAMA) Hugh Quarshie HAIR AND MAKE-UP ARTIST / ASSISTANT PRODUCTION COMPANY DIRECTOR DESIGNER FEATURING THE BEST OF WHITBY DAVISON TIM WHITBY CAROL COOPER Eddie Marsan MEN (PERIOD) BBC George Mackay THE POISON
    [Show full text]
  • Study Guides Are Made Possible By
    By William Shakespeare Directed by Joe Dowling November 1 - December 21, 2003 at the Guthrie Lab and 2004 National Tour Study Guides are made possible by STUDY GUIDE The Guthrie Theater Joe Dowling Thomas C. Proehl Artistic Director Managing Director The Guthrie Theater receives support from the National Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from the National Endowment for the Arts. ============================================================================================================ Othello By William Shakespeare Directed by Joe Dowling The Guthrie Lab production of Othello is sponsored by American Express, the National Endowment for the Arts and Target. The 2004 National Tour of Othello is sponsored by Shakespeare in American Communities, a national theater touring initiative sponsored by the National Endowment for the Arts and The Sallie Mae Fund in cooperation with Arts Midwest. The Guthrie Theater tour is sponsored by Target Corporation with support from RBC Dain Rauscher and Bankfirst. ============================================================================================================ A Study Guide published by the Guthrie Theater Dramaturgy: Michael Lupu Editing: Michael Lupu, Jeffrey R.H. Rogers, Belinda Westmaas-Jones Research: Belinda Westmaas-Jones, Jo Holcomb, Michael Lupu, Jeffrey R.H. Rogers, Karen Sawyer, Ailsa Staub Produced with the support of: Beth Burns, Sheila Livingston, Catherine McGuire, Patricia Vaillancourt The present guide includes revised and re-edited materials from the previously published Study Guide for the 1993 production of the Guthrie Theater. All quotes from the play included in this study guide come from the full-length text of Othello by William Shakespeare and may not be in the final Guthrie performance script.
    [Show full text]
  • Cross-Cultural Casting in Britain: the Path to Inclusion, 1972-2012
    Multicultural Shakespeare: Translation, Appropriation and Performance vol. 19 (34), 2019; http://dx.doi.org/10.18778/2083-8530.19.03 Jami Rogers Cross-Cultural Casting in Britain: The Path to Inclusion, 1972-2012 Abstract: This essay uses three productions to chart the progress of the integration of performers of African and Afro-Caribbean descent in professional British Shakespearean theatre. It argues that the three productions―from 1972, 1988 and 2012―each use cross-cultural casting in ways that illuminate the phases of inclusion for British performers of colour. Peter Coe’s 1972 The Black Macbeth was staged at a time when an implicit colour bar in Shakespeare was in place, but black performers were included in the production in ways that reinforced dominant racial stereotypes. Temba’s 1988 Romeo and Juliet used its Cuban setting to challenge stereotypes by presenting black actors in an environment that was meant to show them as “real human beings”. The RSC’s 2012 Julius Caesar was a black British staging of Shakespeare that allowed black actors to use their cultural heritages to claim Shakespeare, signalling the performers’ greater inclusion into British Shakespearean theatre. Keywords: Shakespeare; Theatre; Diversity; Race; Black British; African. Inclusivity in British production of Shakespeare―subliminally or not―often revolves around finding locales or characters that fit contemporary stereotypes of ethnic minorities. This category of production is one that Ayanna Thompson defines as “cross-cultural casting.” This shifting of a play’s time and/or place “to a different culture or location” (76) has been a useful tool for companies seeking to increase the diversity of their stages.
    [Show full text]
  • Ethnic Diversity in the Making of Britain
    DOCUMENT RESUME ED 429 155 UD 032 881 AUTHOR Frow, Mayerlene TITLE Roots of the Future: Ethnic Diversity in the Making of Britain. INSTITUTION Commission for Racial Equality, London (England). ISBN ISBN-1-85442-179-4 PUB DATE 1997-03-00 NOTE 138p.; For the companion "education pack", see UD 032 882. Photographs may not reproduce clearly. AVAILABLE FROM Central Books, 99 Wallis Road, London E95LN, England, United Kingdom (9.95 British pounds). PUB TYPE Books (010) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Cultural Awareness; Cultural Differences; *Ethnicity; Foreign Countries; History; *Immigrants; Immigration; Instructional Materials; Multicultural Education; *Racial Differences; *Social Change; Urban Areas IDENTIFIERS *Great Britain ABSTRACT The aim of this book is to show that Britain has benefited enormously from immigration and ethnic diversity throughout history. The first part of the book, "Immigrants Past and Present," gives an account of the role played by a few of the migrant communities who came to Britain and settled before the end of World War II. The contributions they have made and the difficulties they have faced are outlined. The second part of the book, "The Contributions of Britain's Ethnic Minorities," focuses on the 50 years since the end of World War II through a selection of "snapshots" of key areas of society where immigration and ethnic diversity have enriched life in Britain. The final section, "Roots of the Future," emphasizes the importance of recognizing ethnic diversity in planning for Britain's future. A list of key dates in British history is included. (Contains 77 references.)(SLD) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document.
    [Show full text]
  • Theatre Performance Video Collection Pictured: UK’S National Theatre’S Treasure Island and Royal Shakespeare Company’S Hamlet
    Theatre Performance Video Collection Pictured: UK’s National Theatre’s Treasure Island and Royal Shakespeare Company’s Hamlet. Theatre Performance Video Collection raises the curtain on world-class theatrical performances courtesy of the U.K.’s National Theatre, Royal Shakespeare Company (RSC), and British Broadcasting Corporation (BBC), allowing students to experience the classics of Shakespeare, Arthur Miller, Jane Austen, and Mary Shelley as well as contemporary plays and interpretations. Showcasing performances from exemplary actors and directors such as Helen McCrory, Adetomiwa Edun, Simon Russell Beale, and Maggie Smith, the well-studied plays and literary works in this collection are sure to spark engaging discussions and projects for students. It is a must-have for schools with theatre, drama, performing arts, and literature classes. CONTENT HIGHLIGHTS TEACHING AND LEARNING Bring texts to life through unlimited simultaneous use of This collection aids teaching and learning of theatre and streaming video to aid the analysis of performances, play drama in schools with a variety of content and tools. Here texts, and literary works. This collection features: are just a few ideas for using the collection: • Plays and literary works commonly studied in high • Bookmark specific scenes, monologues, and staging school English and Theatre classes, literary classics, examples and embed in learning management systems and recent productions with modern themes. to aid in distance learning. • Supplementary documents supporting teaching and • Invite students to compare multiple productions of a learning and behind-the-scenes insights such as play to highlight the effect of actors and directors on exclusive archival materials from the National Theatre the performance, stagecraft, costume design and other Archive, Rehearsal Insights from the National Theatre, aspects of theatrical production.
    [Show full text]