Afro-Americans in the Far West: a Handbook for Educators
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A Science-Based Guide to Afro-Textured Hair Care from Nylah’S Naturals
FOR IMMEDIATE RELEASE A Science-Based Guide to Afro-Textured Hair Care from Nylah’s Naturals. This vegan hair care brand shares their top five tips on how to care for Black hair. Afro-textured hair requires special care, as the hair unique structure is prone to extra dryness and therefore are more fragile and susceptible to breakage. Kam Davis, Founder and CEO of Nylah’s Naturals, shares some expert advice on how to care for Black hair. Since ancient times, afro-textured hair has been an integral part of Black culture. From the Ancient Nile Valley civilizations to the establishment of Western African empires, hair has maintained a spiritual, social, cultural and aesthetic significance in the lives of African people. It was a part of a person’s social and cultural identity, signifying personal status. Unfortunately, in recent centuries, Black women and men were forced to follow the standards of beauty industries that did not accept natural afro-textured hair, forcing many to chemically straighten their hair or wear wigs. Encouragingly, over the past few years, the tendency started shifting in a different FOR IMMEDIATE RELEASE direction, with natural afro-textured hair being more and more widely accepted, celebrating its curly nature and uniqueness. “At Nylah’s Naturals, we realize that our mission goes way beyond creating natural, high-quality products catering to afro-textured hair. For so many years Black women were fighting the very nature of their hair, so now we feel there is a need to educate and share the best practices on how to care for Black hair in such a way that it highlights its health and beauty,” - shares Kam Davis, Nylah’s Naturals CEO and Founder. -
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. -
Defying Conventions and Highlighting Performance 49
Defying Conventions and Highlighting Performance Within and Beyond Slavery in William Wells Brown's Clotel Eileen Moscoso English Faculty advisor: Lori Leavell As an introduction to his novel, Clotel or, The President's Daughter, William Wells Brown, an African American author and fugitive slave, includes a shortened and revised version of his autobiographical narrative titled “Narrative of the Life and Escape of William Wells Brown” (1853). African American authors in the nineteenth century often feared the skepticism they would undoubtedly receive from white readers. Therefore, in order to broaden their readership and gain a more trusting audience, African American authors routinely sought a more socially accepted and allegedly credible person, namely a white American, to authenticate their writing in the preface. Brown boldly refuses to adhere to this convention in an effort to rid his white readership of their assumptions of black inferiority. Rather, he authorizes himself. My paper illuminates Brown's defiance of authorship conventions as an act of resistance rooted in performance, one that strategically parallels other forms of resistance that take place in his literary representations of the plantation. I argue that all counts of trickery enacted by Brown can be better understood when related to the role CLA Journal 1 (2013) pp. 48-58 Defying Conventions and Highlighting Performance 49 _____________________________________________________________ of performance on the plantation. Quite revolutionarily, William Wells Brown uses his own words in the introduction to validate his authorship rather than relying on a more ostensibly qualified figure's. As bold a move that may be, Brown does so with a layer of trickery that allows it to go potentially undetected by the reader. -
AFRO-AMERICAN ART the METROPOLITAN MUSEUM of ART Selections of Nineteenth-Century Afro-American Art
<^ ? AFRO-AMERICAN ART THE METROPOLITAN MUSEUM OF ART Selections of Nineteenth-Century Afro-American Art Selections of Nineteenth-Century Afro-American Art June 19-August 1,1976 Catalogue by Regenia A. Perry The Metropolitan Museum of Art, New York ON THE COVER: Ashur Moses Nathan and Son by Jules Lion. Pastel on canvas, ca. 1845. Lent by Francois Mignon, Natchitoches, Louisiana. Pho tograph by Don R. Sepulvado, Natchitoches, Louisiana. Copyright © 1976 by The Metropolitan Museum of Art 1 he Metropolitan Museum is pleased to present the ex hibition Selections of Nineteenth-Century Afro-American Art as part of our observance of the nation's Bicentennial celebration. We are grateful for the generosity of the lenders, whose cooperation made the exhibition possible, and we congratulate Dr. Regenia A. Perry, who or ganized the show. It is fitting at this time not only to ex amine this important aspect of our national heritage but to view it in the broader context of the history of Ameri can art as represented in the collection of The Metropoli tan Museum of Art. THOMAS HOVING Director ACKNOWLEDGMENTS I would like to express my gratitude to the School of the Arts at Virginia Commonwealth University for granting me a leave of ab sence to work on this project during the academic year 1975—1976, to the Andrew W. Mellon Foundation for funding the fellowship at The Metropolitan Museum of Art which I received during this year, to The Metropolitan Museum of Art for working with me in present ing this exhibition, and to the numerous institutions and private col lectors who have generously lent their works. -
Historical Origins of the One-Drop Racial Rule in the United States
Historical Origins of the One-Drop Racial Rule in the United States Winthrop D. Jordan1 Edited by Paul Spickard2 Editor’s Note Winthrop Jordan was one of the most honored US historians of the second half of the twentieth century. His subjects were race, gender, sex, slavery, and religion, and he wrote almost exclusively about the early centuries of American history. One of his first published articles, “American Chiaroscuro: The Status and Definition of Mulattoes in the British Colonies” (1962), may be considered an intellectual forerunner of multiracial studies, as it described the high degree of social and sexual mixing that occurred in the early centuries between Africans and Europeans in what later became the United States, and hinted at the subtle racial positionings of mixed people in those years.3 Jordan’s first book, White over Black: American Attitudes Toward the Negro, 1550–1812, was published in 1968 at the height of the Civil Rights Movement era. The product of years of painstaking archival research, attentive to the nuances of the thousands of documents that are its sources, and written in sparkling prose, White over Black showed as no previous book had done the subtle psycho-social origins of the American racial caste system.4 It won the National Book Award, the Ralph Waldo Emerson Prize, the Bancroft Prize, the Parkman Prize, and other honors. It has never been out of print since, and it remains a staple of the graduate school curriculum for American historians and scholars of ethnic studies. In 2005, the eminent public intellectual Gerald Early, at the request of the African American magazine American Legacy, listed what he believed to be the ten most influential books on African American history. -
The Woman-Slave Analogy: Rhetorical Foundations in American
The Woman-Slave Analogy: Rhetorical Foundations in American Culture, 1830-1900 Ana Lucette Stevenson BComm (dist.), BA (HonsI) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 School of History, Philosophy, Religion and Classics I Abstract During the 1830s, Sarah Grimké, the abolitionist and women’s rights reformer from South Carolina, stated: “It was when my soul was deeply moved at the wrongs of the slave that I first perceived distinctly the subject condition of women.” This rhetorical comparison between women and slaves – the woman-slave analogy – emerged in Europe during the seventeenth century, but gained peculiar significance in the United States during the nineteenth century. This rhetoric was inspired by the Revolutionary Era language of liberty versus tyranny, and discourses of slavery gained prominence in the reform culture that was dominated by the American antislavery movement and shared among the sisterhood of reforms. The woman-slave analogy functioned on the idea that the position of women was no better – nor any freer – than slaves. It was used to critique the exclusion of women from a national body politic based on the concept that “all men are created equal.” From the 1830s onwards, this analogy came to permeate the rhetorical practices of social reformers, especially those involved in the antislavery, women’s rights, dress reform, suffrage and labour movements. Sarah’s sister, Angelina, asked: “Can you not see that women could do, and would do a hundred times more for the slave if she were not fettered?” My thesis explores manifestations of the woman-slave analogy through the themes of marriage, fashion, politics, labour, and sex. -
Process and Product--A Reassessment of Students
R E P O R T RESUMES ED 015 687 EM 006 228 PROCESS AND PRODUCT - -A REASSESSMENT OF STUDENTS AND PROGRAM. THE CREATIVE INTELLECTUAL STYLE IN GIFTED ADOLESCENTS, REPORT III. FINAL REPORT. BY- CREWS, ELIZABETH MONROE MICHIGAN ST. UNIV., EAST LANSING REPORT NUMBER NDEA-VIIA-647-FT-3-PHASE-II PUB DATE 66 GRANT OEG-7-32-0410-222 EDRS PRICE MF -$1.25 HC-$12.86 320F. DESCRIPTORS- *GIFTED, CREATIVE THINKING, ACADEMIC PERFORMANCE, PSYCHOLOGICAL TESTS, ADOLESCENTS THIS FINAL REPORT OF A SERIES ELABORATES DAiA FROM REPORT IIN SIX INTENSIVE CASE STUDIES OF THREE TYPES OF GIFTED ADOLESCENTS (CREATIVE INTELLECTUAL, STUDIOUS, SOCIAL LEADER) IDENTIFIED BY SELF-REPORT, AND TESTS THE STRENGTH AND DURABILITY OF ATTITUDE CHANGES RESULTING FROM CURRICULUM EXPERIMENTS DESCRIBED IN REPORT II. RESEARCH RELEVANT TO THE CREATIVE INTELLECTUAL STYLE IN BOTH ADULTS AND ADOLESCENTS IS CITED. ASSUMFTIOMS THROUGHOUT THIS RESEARCH ARE THAT EDUCATIONAL AIMS FOR GIFTED ADOLESCENTS SHOULD INCLUDE DEVELOPMENT OF IDENTITY, MOTIVATION TO LEARN, AND OPENNESS TO CHANGE. FORMAL AND INFORMAL MEASURES ON TESTS ADMINISTERED ONE YEAR AFTER THEY WERE GIVEN FOR REPORT II EXPERIMENTS SHOWED CONTINUING TRENDS OF ATTITUDE CHANGES TOWARD CREATIVE INTELLECTUALITY FOR ALL POPULATION SUB-GROUPS, BOTH EXPERIMENTAL AND CONTROL, BUT NO APPARENT INCREASE IN PROBLEM- SOLVING SKILLS. THESE RESULTS ARE FURTHER DISCUSSED IN THE CONTEXT OF )HE CASE STUDIES, AND IN TERMS OF CONCURRENT SOCIAL Tr''.ENDS.(LH) fr THE C.' EA TI IN UAL STYLE GIFT D 4 ESCENTS Ykizrvory-e.,avuov (.1principal investigator 's I. motivation tolearn ESS AND PRODUCT areassessmentof$tudents andprogram A. *./ THE CREATIVE INTELLECTUAL STYLE IN GIFTED ADOLESCENTS Process and Product: A Reassessment of Students and Program Elizabeth Monroe Drews Professor of Education Portland State College Portland, Oregon Final Report of Title VII, Project No. -
Slaves in the Family: Testamentary Freedom and Interracial Deviance
Syracuse University SURFACE College of Law - Faculty Scholarship College of Law Summer 7-26-2012 Slaves in the Family: Testamentary Freedom and Interracial Deviance Kevin Noble Maillard Syracuse University College of Law, [email protected] Follow this and additional works at: https://surface.syr.edu/lawpub Part of the Law Commons Recommended Citation Maillard, Kevin Noble, "Slaves in the Family: Testamentary Freedom and Interracial Deviance" (2012). College of Law - Faculty Scholarship. 76. https://surface.syr.edu/lawpub/76 This Article is brought to you for free and open access by the College of Law at SURFACE. It has been accepted for inclusion in College of Law - Faculty Scholarship by an authorized administrator of SURFACE. For more information, please contact [email protected]. Slaves in the Family: Testamentary Freedom and Interracial Deviance Kevin Noble Maillard* Syracuse University College of Law [email protected] (917) 698-6362 ABSTRACT This Article addresses the deviance of interracial sexuality acknowledged in testamentary documents. The language of wills calls into question the authority of probate and family law by forcing issues of deviance into the public realm. Will dramas, settled in or out of court, publicly unearth insecurities about family. Many objections to the stated intent of the testator generate from social prejudices toward certain kinds of interpersonal relationships: nonmarital, homosexual, and/or interracial. When pitted against an issue of a moral or social transgression, testamentary intent often fails. In order for these attacks on testamentary validity to succeed, they must be situated within an existing juridical framework that supports and adheres to the hegemony of denial that refuses to legitimate the wishes of the testator. -
Style Sheet for Aztlán: a Journal of Chicano Studies
Style Sheet for Aztlán: A Journal of Chicano Studies Articles submitted to Aztlán are accepted with the understanding that the author will agree to all style changes made by the copyeditor unless the changes drastically alter the author’s meaning. This style sheet is intended for use with articles written in English. Much of it also applies to those written in Spanish, but authors planning to submit Spanish-language texts should check with the editors for special instructions. 1. Reference Books Aztlán bases its style on the Chicago Manual of Style, 15th edition, with some modifications. Spelling follows Merriam-Webster’s Collegiate Dictionary, 11th edition. This sheet provides a guide to a number of style questions that come up frequently in Aztlán. 2. Titles and Subheads 2a. Article titles No endnotes are allowed on titles. Acknowledgments, information about the title or epigraph, or other general information about an article should go in an unnumbered note at the beginning of the endnotes (see section 12). 2b. Subheads Topical subheads should be used to break up the text at logical points. In general, Aztlán does not use more than two levels of subheads. Most articles have only one level. Authors should make the hierarchy of subheads clear by using large, bold, and/or italic type to differentiate levels of subheads. For example, level-1 and level-2 subheads might look like this: Ethnocentrism and Imperialism in the Imperial Valley Social and Spatial Marginalization of Latinos Do not set subheads in all caps. Do not number subheads. No endnotes are allowed on subheads. -
The Archaeological Importance of the Black Towns in the American West and Late-Nineteenth Century Constructions of Blackness
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2012 I'm Really Just an American: The Archaeological Importance of the Black Towns in the American West and Late-Nineteenth Century Constructions of Blackness Shea Aisha Winsett College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, African History Commons, History of Art, Architecture, and Archaeology Commons, and the Social and Cultural Anthropology Commons Recommended Citation Winsett, Shea Aisha, "I'm Really Just an American: The Archaeological Importance of the Black Towns in the American West and Late-Nineteenth Century Constructions of Blackness" (2012). Dissertations, Theses, and Masters Projects. Paper 1539626687. https://dx.doi.org/doi:10.21220/s2-tesy-ns27 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. I’m Really Just An American: The Archaeological Importance of the Black Towns in the American West and Late-Nineteenth Century Constructions of Blackness Shea Aisha Winsett Hyattsville, Maryland Bachelors of Arts, Oberlin College, 2008 A Thesis presented to the Graduate Faculty of the College of William and Mary in Candidacy for the Degree of Master of Arts Department -
[Countable], Pl.-Gees. a Person Who Has Been Forced to Leave Their Country in Order to Escape War, Persecution, Or Natural Disaster
MORE THAN WORDS Refugee /rɛfjʊˈdʒiː/ n. [countable], pl.-gees. A person who has been forced to leave their country in order to escape war, persecution, or natural disaster. unicef.es/educa MORE THAN WORDS Where does the word refugee come from? From Ancient Greek: φυγή From Latin: fugere (flight) [phyge], flight, escape In Latin mythology, Phyge is known In Greek mythology, Phyge was the as Fuga. The Word "refugium" means spirit of flight, escape, exile and "escape backwards" in Latin, probably in banishment. She was the daughter of reference to a secret exit or a backdoor Ares, the god of war, and Aphrodite, in the houses that allowed to run away the goddess of love. Her brothers in case of emergency. were Phobos (fear) and Deîmos (pain). unicef.es/educa MORE THAN WORDS How is it said refugees in other languages? Spanish: Refugiados Polish: Zarządzanie Korean: 난민 French: Réfugiés Slovak: Utečencov Hindi: शरणार्थी German: Flüchtlingskrise Slovene: Beguncem Icelandic: Flóttafólk טילפ :Dutch:Vluchtelingen Bulgarian: Бежанец Hebrew Italian: Rifugiati Romanian: Refugiaților Swahili: Mkimbizi Swedish: Flyktingkrisen Croatian: Izbjeglicama Kurdish: Penaberên Portuguese:Refugiados Catalan: Refugiats Japanese: 難民 Finnish: Pakolaiskriisin Danish: Flygtninge Quechuan: Ayqiq Greek: Πρόσφυγας Basque: Iheslari Russian: Беженцы Czech: Uprchlická Galician: Refuxiados Somali: Qaxooti Estonian: Pagulas Norwegian: Flyktninger Turkish: Mülteci ںیزگ ہانپ :Urdu ئجال :Hungarian: Menekültügyi Arabic Lithuanian: Pabėgėlių Welch: Ffoadur Chinese: 难民 Vietnamese: -
(In)Determinable: Race in Brazil and the United States
Michigan Journal of Race and Law Volume 14 2009 Determining the (In)Determinable: Race in Brazil and the United States D. Wendy Greene Cumberland School fo Law at Samford University Follow this and additional works at: https://repository.law.umich.edu/mjrl Part of the Comparative and Foreign Law Commons, Education Law Commons, Law and Race Commons, and the Law and Society Commons Recommended Citation D. W. Greene, Determining the (In)Determinable: Race in Brazil and the United States, 14 MICH. J. RACE & L. 143 (2009). Available at: https://repository.law.umich.edu/mjrl/vol14/iss2/1 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Journal of Race and Law by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. DETERMINING THE (IN)DETERMINABLE: RACE IN BRAZIL AND THE UNITED STATES D. Wendy Greene* In recent years, the Brazilian states of Rio de Janeiro, So Paulo, and Mato Grasso du Sol have implemented race-conscious affirmative action programs in higher education. These states established admissions quotas in public universities '' for Afro-Brazilians or afrodescendentes. As a result, determining who is "Black has become a complex yet important undertaking in Brazil. Scholars and the general public alike have claimed that the determination of Blackness in Brazil is different than in the United States; determining Blackness in the United States is allegedly a simpler task than in Brazil. In Brazil it is widely acknowledged that most Brazilians are descendants of Aficans in light of the pervasive miscegenation that occurred during and after the Portuguese and Brazilian enslavement of * Assistant Professor of Law, Cumberland School of Law at Samford University.