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The Mellon Mays Undergraduate Fellowship Journal 2018
The Mellon Mays Undergraduate Fellowship Journal 2018 Through subtle shades of color, the cover design represents the layers of richness and diversity that flourish within minority communities. The Mellon Mays Undergraduate Fellowship Journal 2018 A collection of scholarly research by fellows of the Mellon Mays Undergraduate Fellowship Program Preface We are proud to present to you the 2018 edition of the Mellon Mays Undergraduate Fellowship Journal. For more than 30 years, the Mellon Mays Undergraduate Fellowship (MMUF) program has endeavored to promote diversity in the faculty of higher education, specifically by supporting thousands of students from underrepresented minority groups in their goal of obtaining PhDs. With the MMUF Journal, we provide an additional opportunity for students to experience academia through exposure to the publishing process. In addition to providing an audience for student work, the journal offers an introduction to the publishing process, including peer review and editor-guided revision of scholarly work. For the majority of students, the MMUF Journal is their first experience in publishing a scholarly article. The 2018 Journal features writing by 27 authors from 22 colleges and universities that are part of the program’s member institutions. The scholarship represented in the journal ranges from research conducted under the MMUF program, introductions to senior theses, and papers written for university courses. The work presented here includes scholarship from a wide range of disciples, from history to linguistics to political science. The papers presented here will take the reader on a journey. Readers will travel across the U.S., from Texas to South Carolina to California, and to countries ranging from Brazil and Nicaragua to Germany and South Korea, as they learn about theater, race relations, and the refugee experience. -
Ishmael Reed Interviewed
Boxing on Paper: Ishmael Reed Interviewed by Don Starnes [email protected] http://www.donstarnes.com/dp/ Don Starnes is an award winning Director and Director of Photography with thirty years of experience shooting in amazing places with fascinating people. He has photographed a dozen features, innumerable documentaries, commercials, web series, TV shows, music and corporate videos. His work has been featured on National Geographic, Discovery Channel, Comedy Central, HBO, MTV, VH1, Speed Channel, Nerdist, and many theatrical and festival screens. Ishmael Reed [in the white shirt] in New Orleans, Louisiana, September 2016 (photo by Tennessee Reed). 284 Africology: The Journal of Pan African Studies, vol.10. no.1, March 2017 Editor’s note: Here author (novelist, essayist, poet, songwriter, editor), social activist, publisher and professor emeritus Ishmael Reed were interviewed by filmmaker Don Starnes during the 2014 University of California at Merced Black Arts Movement conference as part of an ongoing film project documenting powerful leaders of the Black Arts and Black Power Movements. Since 2014, Reed’s interview was expanded to take into account the presidency of Donald Trump. The title of this interview was supplied by this publication. Ishmael Reed (b. 1938) is the winner of the prestigious MacArthur Fellowship (genius award), the renowned L.A. Times Robert Kirsch Lifetime Achievement Award, the Lila Wallace-Reader's Digest Award, a Guggenheim Fellowship, and a Rosenthal Family Foundation Award from the National Institute for Arts and Letters. He has been nominated for a Pulitzer and finalist for two National Book Awards and is Professor Emeritus at the University of California at Berkeley (a thirty-five year presence); he has also taught at Harvard, Yale and Dartmouth. -
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. -
A Collection Analysis of the African-American Poetry Holdings in the De Grummond Collection Sarah J
SLIS Connecting Volume 2 | Issue 1 Article 9 2013 A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection Sarah J. Heidelberg Follow this and additional works at: http://aquila.usm.edu/slisconnecting Part of the Library and Information Science Commons Recommended Citation Heidelberg, Sarah J. (2013) "A Collection Analysis of the African-American Poetry Holdings in the de Grummond Collection," SLIS Connecting: Vol. 2: Iss. 1, Article 9. DOI: 10.18785/slis.0201.09 Available at: http://aquila.usm.edu/slisconnecting/vol2/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A Collection Analysis of the African‐American Poetry Holdings in the de Grummond Collection By Sarah J. Heidelberg Master’s Research Project, November 2010 Performance poetry is part of the new black poetry. Readers: Dr. M.J. Norton This includes spoken word and slam. It has been said Dr. Teresa S. Welsh that the introduction of slam poetry to children can “salvage” an almost broken “relationship with poetry” (Boudreau, 2009, 1). This is because slam Introduction poetry makes a poets’ art more palatable for the Poetry is beneficial for both children and adults; senses and draws people to poetry (Jones, 2003, 17). however, many believe it offers more benefit to Even if the poetry that is spoken at these slams is children (Vardell, 2006, 36). The reading of poetry sometimes not as developed or polished as it would correlates with literacy attainment (Maynard, 2005; be hoped (Jones, 2003, 23). -
Beyond Inclusion: an In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich
Yale College Education Studies Program Senior Capstone Projects Student Research Spring 2020 Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich Sarah Mele Yale College, New Haven Connecticut Abstract: This capstone will analyze interventions into university pedagogy based on the teaching practices of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich. It begins with a historical introduction to the role of these four women in university activism in the late 1960s and early 1970s inside and outside the classroom. Analysis of the development of Black Studies and university pedagogy since this time reveals gaps in the fulfillment of the student-driven movement’s goal that are still extremely relevant to questions of institutional power and access today. Next, this paper provides concrete pedagogical and methodological strategies for present day university teaching grounded in the work of these four revolutionary women. This portion will pull from archival research of teaching materials, notes, and correspondence as well as subsequent scholarship on pedagogy. Suggested Citation: Mele, S. (2020). Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich (Unpublished Education Studies capstone). Yale University, New Haven, CT. This capstone is a work of Yale student research. The arguments and research in the project are those of the individual student. They are not endorsed by Yale, nor are they official university positions or statements. Beyond Inclusion: An In-Depth Analysis of Teaching of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich Sarah Mele 4/18/20 EDST 400 1 Abstract This capstone will analyze interventions into university pedagogy based on the teaching practices of Audre Lorde, Toni Cade Bambara, June Jordan, and Adrienne Rich. -
Black Lives Matter Syllabus
Black Lives Matter: Race, Resistance, and Populist Protest New York University Fall 2015 Thursdays 6:20-9pm Professor Frank Leon Roberts Fall 2015 Office Hours: (By Appointment Only) 429 1 Wash Place Thursdays 1:00-3:00pm, 9:00pm-10:00pm From the killings of teenagers Michael Brown and Vonderrick Myers in Ferguson, Missouri; to the suspicious death of activist Sandra Bland in Waller Texas; to the choke-hold death of Eric Garner in New York, to the killing of 17 year old Trayvon Martin in Sanford, Florida and 7 year old Aiyana Stanley-Jones in Detroit, Michigan--. #blacklivesmatter has emerged in recent years as a movement committed to resisting, unveiling, and undoing histories of state sanctioned violence against black and brown bodies. This interdisciplinary seminar links the #blacklivesmatter” movement to four broader phenomena: 1) the rise of the U.S. prison industrial complex and its relationship to the increasing militarization of inner city communities 2) the role of the media industry (including social media) in influencing national conversations about race and racism and 3) the state of racial justice activism in the context of a purportedly “post-racial” Obama Presidency and 4) the increasingly populist nature of decentralized protest movements in the contemporary United States (including the tea party movement, the occupy wall street movement, etc.) Among the topics of discussion that we will debate and engage this semester will include: the distinction between #blacklivesmatter (as both a network and decentralized movement) vs. a broader twenty first century movement for black lives; the moral ethics of “looting” and riotous forms of protest; violent vs. -
Toni Cade Bambara
Toni Cade Bambara Biography Quick Facts * 1939-1995 Toni Cade Bambara, born Miltona Mirkin Cade on March 25, 1939, lived the first ten years of her life in Harlem. Bambara credits the Harlem * African- community as having a significant influence on her writing. She learned American writer, the power of the word from “the speakers on Speaker’s Corner in Har- filmmaker, lem” (Tate 28). She also credits the musicians of the forties and fifties activist, and with giving her “voice and pace and pitch” (Tate 29). While living on feminist 151st Street between Broadway and Amsterdam, Miltona changed her * First published name to “Toni” around kindergarten. The richly diverse population of the fictional work was area contributed much to Bambara’s life lessons. Always willing to “stop Gorilla, My Love and talk,” Bambara “adopted people” to fill the place in her life for rela- tives, especially grandmothers (Deep Sightings 208-209). Although the neighborhood was instrumental in forming an important part of Bambara’s identity, the author says her greatest influence and inspiration was her mother: “My mother had great respect for the life of the mind” (Deep Sightings 212). In a poignant dedication to her mother in The Salt Eaters, Bambara writes: “Mama, Helen Brent Henderson Cade Brehon, who in 1948, having come upon me daydreaming in the middle of the kitchen floor, mopped around me.” In 1959, Toni Cade graduated from Queen’s College with a B.A. in Theater Arts/English. For her first published short story, “Sweet Town,” she received the John Golden Award for fiction. -
Jazz in Modern American Literature
University of Kansas English Fall 2006 JAZZ IN MODERN AMERICAN LITERATURE INSTRUCTOR: William J. Harris From spirituals to rap, African American music is one of America’s original contributions. In this course we will explore the interaction between jazz, one of the most complex forms of black music, and modern American Literature. Our main question is: How do writers use the forms, ideas and myths of this rich musical tradition? For the authors we are studying, jazz serves as a model and inspiration; they turn to it to find both and American subject matter and an American voice. As well as reading a number of authors, including, Langston Hughes, August Wilson, Jack Kerouac, Ishmael Reed, Michael Ondaatje, Nathaniel Mackey, Jayne Cortez and Toni Morrison, we will listen to a number of African-American musicians and/or composers, including Bessie Smith, Louis Armstrong, Duke Ellington, Ornette Coleman, John Coltrane, Sun Ra, Albert Ayler, and Abbey Lincoln. It turns out that we cannot understand the writers well if we do not understand the music well. Moreover, we will view two jazz movies, Amiri Baraka’s Dutchman and Sun Ra’s Space is the Place and will discuss the blues-jazz musical theory of Baraka, Ellison and Albert Murray. REQUIRED READING Moment’s Notice (MN)—Art Lange The Collected Poems (CP)—Langston Hughes Ma Rainey’s Black Bottom—August Wilson Coming Through Slaughter—Michael Ondaatje Jazz—Toni Morrison On the Road—Jack Kerouac Living with Music—Ralph Ellison Invisible Man—Ralph Ellison The LeRoi Jones / Amiri Baraka Reader -
"A Common Fate of Discrimination": Race-Gender Analogies in Legal and Historical Perspective
"A Common Fate of Discrimination": Race-Gender Analogies in Legal and Historical Perspective Serena Mayeri In her classic work Ain't I a Woman, African-American feminist critic bell hooks excoriated white feminists for their "constant comparison[s] of the plight of 'women' and 'blacks,"'' charging that such analogies "support the exclusion of black women" 2 and represent the linguistic expression of a ' "sexist-racist attitude" endemic to the women's liberation movement. Hooks, writing in the early 1980s, perceived analogies between racial and sexual oppression-at least as articulated by white women who "used black people as metaphors" 4-as a quintessentially opportunistic, parasitic, and marginalizing practice. Two decades earlier, when civil rights attorney Pauli Murray, already a veteran of battles against racial and sexual exclusion, was searching for a means of persuading skeptics that the eradication of "Jane Crow" deserved moral commitment and legal mobilization equivalent to the fight against "Jim Crow," she had emphasized the "strikingly similar positions in American society" of "women and Negroes." 5 Invoking the "parallel and interrelated" histories of women's rights and civil rights movements, Murray articulated an analogy that superficially resembled the very comparison hooks would later condemn. Powerful political and legal imperatives shaped Murray's decision to invoke an analogy between race and sex in the early 1960s. In so doing, she deliberately and self-consciously adopted a long tradition within feminist advocacy traceable to the genesis of the antebellum woman's rights struggle I. BELL HOOKS, AIN'T I A WOMAN 141 (1981). 2. Id. at 140. 3. Id. -
Short Stories in the Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL
DOCUMENT RESUME ED 430 231 CS 216 694 AUTHOR Hamilton, Carole L., Ed.; Kratzke, Peter, Ed. TITLE Short Stories in the Classroom. INSTITUTION National Council of Teachers of English, Urbana, IL. ISBN ISBN-0-8141-0399-5 PUB DATE 1999-00-00 NOTE 219p. AVAILABLE FROM National Council of Teachers of English, 1111 W. Kenyon Road, Urbana, IL 61801-1096 (Stock No. 03995-0015: $16.95 members, $22.95 nonmembers). PUB TYPE Books (010) Guides Classroom Teacher (052) EDRS PRICE MF01/PC09 Plus Postage. DESCRIPTORS Class Activities; *English Instruction; Literature Appreciation; *Reader Text Relationship; Secondary Education; *Short Stories IDENTIFIERS *Response to Literature ABSTRACT Examining how teachers help students respond to short fiction, this book presents 25 essays that look closely at "teachable" short stories by a diverse group of classic and contemporary writers. The approaches shared by the contributors move from readers' first personal connections to a story, through a growing facility with the structure of stories and the perception of their varied cultural contexts, to a refined and discriminating sense of taste in short fiction. After a foreword ("What Is a Short Story and How Do We Teach It?"), essays in the book are: (1) "Shared Weight: Tim O'Brien's 'The Things They Carried'" (Susanne Rubenstein); (2) "Being People Together: Toni Cade Bambara's 'Raymond's Run'" (Janet Ellen Kaufman); (3) "Destruct to Instruct: 'Teaching' Graham Greene's 'The Destructors'" (Sara R. Joranko); (4) "Zora Neale Hurston's 'How It Feels to Be Colored Me': A Writing and Self-Discovery Process" (Judy L. Isaksen); (5) "Forcing Readers to Read Carefully: William Carlos Williams's 'The Use of Force'" (Charles E. -
Women's Liberation: Seeing the Revolution Clearly
Sara M. EvanS Women’s Liberation: Seeing the Revolution Clearly Approximately fifty members of the five Chicago radical women’s groups met on Saturday, May 18, 1968, to hold a citywide conference. The main purposes of the conference were to create and strengthen ties among groups and individuals, to generate a heightened sense of common history and purpose, and to provoke imaginative pro- grammatic ideas and plans. In other words, the conference was an early step in the process of movement building. —Voice of Women’s Liberation Movement, June 19681 EvEry account of thE rE-EmErgEncE of feminism in the United States in the late twentieth century notes the ferment that took place in 1967 and 1968. The five groups meeting in Chicago in May 1968 had, for instance, flowered from what had been a single Chicago group just a year before. By the time of the conference in 1968, activists who used the term “women’s liberation” understood themselves to be building a movement. Embedded in national networks of student, civil rights, and antiwar movements, these activists were aware that sister women’s liber- ation groups were rapidly forming across the country. Yet despite some 1. Sarah Boyte (now Sara M. Evans, the author of this article), “from Chicago,” Voice of the Women’s Liberation Movement, June 1968, p. 7. I am grateful to Elizabeth Faue for serendipitously sending this document from the first newsletter of the women’s liberation movement created by Jo Freeman. 138 Feminist Studies 41, no. 1. © 2015 by Feminist Studies, Inc. Sara M. Evans 139 early work, including my own, the particular formation calling itself the women’s liberation movement has not been the focus of most scholar- ship on late twentieth-century feminism. -
Jayne Cortez
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Minnesota Digital Conservancy Jayne Cortez MAYBE LIBERTY JUSTICE EQUALITY MAYBE IN THE 21ST CENTURY MAYBE ON ANOTHER PLANET MAYBE IN OUTER SPACE MAYBE MAYBE MAYBE NO EQUALITY NO JUSTICE NO LIBERTY “WHAT KIND OF DEMOCRACY IS THIS? Biography Poet, musician, activist, and entrepreneur Jayne Cortez is an accom”- Quick Facts plished woman who uses her work to address social problems in the U.S. and around the world. Over the last 30 years, she has contrib- * Born in 1936 uted greatly to the struggle for racial and gender equality. * African- American poet, Jayne Cortez was born in Fort Huachuca, Arizona and raised in Los singer, and Angeles. After graduating from an arts high school, Cortez enrolled activist in college, but was forced to drop out due to financial problems. * Has recorded From an early age, Cortez was heavily influenced by jazz artists from nine albums the Los Angeles area. In 1954, at the age of 18, Cortez married the with her band, rising jazz star Ornette Coleman. The two had a son, Denardo Cole- the Firespitters man, two years later. In the 1960s Cortez embarked on several endeavors, including participating in the Civil Rights Movement in Mississippi, traveling to Europe and Africa, and organizing writing workshops in Watts, This page was researched and submitted by Lucy Corbett and California. Cortez landed in New York City in 1967, where she still Licínia McMorrow on 4/17/03 resides when not teaching or performing around the world.