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Black arts influence on african american society
Black arts influence on african american society
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Two thunderous voices can be seen in the arts during the late 20th century. James Earl Jones is well known for his roles in Hollywood films such as “Dr. Strangelove” and “Star Wars”, and has an even greater presence in the theatre community. His achievements as an actor were inspired by his hardships growing up, for he had a strong stutter until high school. Similarly, Geoffrey Holder suffered from a speech impediment at a young age, but would become a well-known artist. Holder is recognized for many different fields, he is an actor, dancer, choreographer, painter, and more. James Earl Jones and Geoffrey Holder overcame similar issues with speech, and built personalities around their professions, which were shown in all of their great works. Now they are known for their beautiful accomplishments, as well as their powerful voices.
James Earl Jones’s early life was difficult, and he was a part of the Great Migration. He was born in Arkabutla, Mississippi in 1931. Jones was raised by his maternal grandparents, for his father had left his mother when Jones was very young. She too left him at a young age, but visited from time to time. “I rejoiced in her visits, yet her impending departure brought me to grief” (Jones 18). Jones’s grief was routed in a feeling of abandonment. His did not see his father for many years, and his mother’s visits were infrequent, but his grandparents were very loving, and he would respect them as his parents (Jones 21). His attachment to his grandparents profoundly affected his life when he was nearly abandoned again. At age 5, his grandparents decided to move north to Michigan, and on the way they stopped by Memphis, Tennessee where they attempted to leave Jones with his paternal grandmother. ...
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...hentic Shakespeare, Authentic Africans: Performing Othello in South Africa. N.p.: Comparative Drama, 2012. Print.
Dunning, Jennifer. Geoffrey Holder: A Life in Theater, Dance, and Art. New York: Harry N. Abrams, 2001. Print.
Gill, Glenda Eloise. No Surrender! No Retreat! : African American Pioneer Performers of Twentieth-Century American Theater. New York: St. Martin's, 2000. Print.
Haskins, James. "Geoffrey Holder and Carmen De Lavallade." Black Dance in America. N.p.: n.p., 1990. 130-37. Print.
Jennie, Schulman. "Geoffrey Holder: A Life in Theatre, Dance, and Art." Back Stage 20 Sept. 2002: 11-12. Rpt. in Back Stage. N.p.: n.p., n.d. N. pag. Print.
Jones, James Earl, and Penelope Niven. James Earl Jones: Voices and Silences. New York: Charles Scribner's Sons, 1993. Print.
Parker, Robert A. "The Wizdom of Geoffrey Holder." Americas May 1984: 22-27. Print.
Jean Kilbourne, Richard Pollay, Sut Jhally, Bernard McGrane and other noted critics, performing a cultural
Peña, Manuel H. "Ritual Structure in a Chicano Dance." University of Texas Press: Latin American Music Review Spring- Summer 1980 1.1 (1980): 47-73. Print.
Harold Clurman was born in New York to Jewish immigrant parents in 1901. At six years old, he attended a production at the Yiddish Theatre. Though he neither spoke nor understood Yiddish, the experience had a transformative effect on him. He immediately had a passion for the theatre. At age twenty, Clurman was living and studying theatre in France. It was there he saw the Moscow Art Theatre and learned of Stanislavski’s teachings on realism. Clurman came back to New York in 1924, and began work as an actor, but he was disappointed in the kind of theatre produced.
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
Butler, Judith. "Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory." Theatre Journal 40.4 (1988): 519-31. The Johns Hopkins University Press. Web. 11 May 2011.
Lindheim, Nancy "Rethinking Sexuality and Class in Twelfth Night." University of Toronto Quarterly: A Canadian Journal of the Humanities 76.2 (2007): 679-713. MLA International Bibliography. EBSCO. Web. 6 Nov. 2009.
Carter G. Woodson: Negro Orators ansd Their Orations (New York, NY, 1925) and The Mind of the Negro (Washington, DC., 1926).
Like Martin Luther King Jr. said, “We must learn to live together as brothers or perish together as fools.” In the 1950’s the South was heavily racially segregated. Elvis Presley unintentionally put himself in the position to become a valuable instrument in the battle against segregation. “Without casting himself as a fighter for racial equality, Elvis became a subversive standard bearer for cultural desegregation at a time when the codified racism of the South was under increasing pressure.” How did an uneducated white hillbilly from the south influence both black and white teenagers against segregation? It was quite simple, for Elvis Presley had a unique talent of combining traditional black music; such as the blues and jazz, with the traditional white music; like country and white gospel. This unique style of blending different types of music, gave Elvis the edge on the musical racial barriers America was facing; and open the path for both sides to enjoy the music together and therefore desegregated.
Robin, D. G. (2000). To Make Our World Anew: A History of African Americans. New York: Prentice Hall Publishers.
Slide, Anthony. The Encyclopedia of Vaudeville. Westport, CT: Greenwood, 1994. Google Books. Web. 1 May 2014.
Karenga, Malauna. Introduction to Black Studies. Los Angeles: University of Sankore Press Third Edition, 2002.
A newspaper from 1899 refers to a Negro paper that said, “There is nothing elevating or ennobling about ‘coon songs’ and ‘rag-time music’ and the cakewalk is positively degrading”. This critique is interesting because it is not only by African Americans, but it scorns African Americans. Even though it is odd to say, one could understand where some Cakewalk critics come from if they stay open-minded. Another colored critic from 1897 shared his feelings about a cakewalk in a newspaper that said, “He thinks the exhibition vulgar and degrading to its participants.” and “All the quaint charm of the old negro who did these things for their own sake is lost by these people who do them as a matter of show. Their self-consciousness spoils their naturalness.” The critic’s accusations of the dancers only performing to put on a show rather than “the purpose of keeping alive a characteristic custom of the negro” are comprehensible. While it is certain that some dancers performed honorably, the critic seems to have been justified in his opinion that dancing without a meaningful purpose is rather shameful. White critics had similar things to say about the Cakewalk, and another way that whites degraded African Americans was through sheet music covers filled with stereotypes and
Vaughan, Virginia Mason. "Caliban's Theatrical Metamorphoses." Caliban. Ed. Harold Bloom. New York: Chelsea House Publishing, 1992. 192-206.
Here we run up against the bugbear of historically informed performance. So many of the treatises (in music and dance as well as in acting) depend on the student's imitation of an admired master, and a gradual perfection of "good taste" as his society constructed that elusive quality. We cannot recreate those apprenticeships, those saturations in a period aesthetic. However, by constructing exercises along the lines of a Renaissance aesthetic, we may expose some of the differences between what the Shakespearean audience saw, and what the North American audience sees today.
Thomas Lanier Williams was born in Columbus, Mississippi in 1911, he was the second of the Williams’ three children. By his own candid accounts, he described his family situation as being troubled, to put it lightly. His parent’s marriage was ordinarily tense, most likely as a result of his father’s alcoholism, physical intimidation and neglect. Thomas’s kindred troubles did not end with his parent’s unpleasantness, his beloved older sister, Rose, was institutionalized as a young woman and remained in care for the reminder of her life. He, himself suffered a mental breakdown, following his recuperation he moved to New Orleans and changed his name to Tennessee, this move invigorated his lifestyle and provided him with a new source of inspiration.