Advertisement
| black broadway a proud history: Black Broadway in Washington, DC Briana A. Thomas , 2021 Before chain coffeeshops and luxury high-rises, before even the beginning of desegregation and the 1968 riots, Washington's Greater U Street was known as Black Broadway. From the early 1900s into the 1950s, African Americans plagued by Jim Crow laws in other parts of town were free to own businesses here and built what was often described as a city within a city. Local author and journalist Briana A. Thomas narrates U Street's rich and unique history, from the early triumph of emancipation to the days of civil rights pioneer Mary Church Terrell and music giant Duke Ellington, through the recent struggle of gentrifiction -- |
| black broadway a proud history: Black No More George S. Schuyler, 2012-03-08 A satirical approach to debunking the myths of white supremacy and racial purity, this 1931 novel recounts the consequences of a mysterious scientific process that transforms black people into whites. |
| black broadway a proud history: Introducing Bert Williams Camille F. Forbes, 2008-08-01 It is not hard to argue that every black performer in show business owes something to Bert Williams. Discovered in California in 1890 by a minstrel troupe manager, Williams swiftly became a regular player in the troupe. Traveling on from the rough-and-ready medicine shows that then dotted the West, he rose through the ranks of big-time vaudeville in New York City, and finally ascended to the previously all-white pinnacle of live-stage success: the fabled Ziegfeld Follies on Broadway. Inspite of his triumphs-he brought the first musical with an all-black cast to Broadway in 1903-he was often viewed by the black community with more critical suspicion than admiration because of his controversial decision to perform in blackface. Modest, private, and conservative in his personal life, Williams left political activism and soapbox thumping to others. More than the simple narration of a remarkable life, Introducing Bert Williams offers a fascinating window into the fraught issues surrounding race and artistic expression in American culture. The story of Williams's long and varied career is a whirlwind of inner turmoil, racial tension, glamour, and striving-nothing less than the birth of American show business. |
| black broadway a proud history: Proud Heritage [3 volumes] Chuck Stewart, 2014-12-16 This groundbreaking three-volume reference traces the roots and development of lesbian, gay, bisexual, and transgender (LGBT) rights and issues in the United States from the pre-colonial period to the present day. With the social, religious, and political stigmas attached to alternative lifestyles throughout history, most homosexuals, bisexuals, and transgender people lived covertly for much of, if not all of, their lives. Likewise, the narrative of our country excludes the contributions, struggles, and historical achievements of this group. This revealing, chronologically arranged reference work uncovers the rich story of the LGBT community in the United States and discusses the politics, culture, and issues affecting it since the early 17th century. Author Chuck Stewart traces the evolution of LGBT issues as part of our nation's shared cultural past and modern-day experience. Volume 1 focuses on the origins of the movement with the founding of Jamestown in 1607 through the 1970s and the beginning of gay rights activism in the United States. Volume 2 spans the 1980s and the AIDs pandemic through the present-day issues of marriage equality. Volume 3 gives a concise review of this society in each of the 50 states, the District of Columbia, and Puerto Rico. |
| black broadway a proud history: From Africa to the Heart of the GOP David O. Agbeti, 2005 This book is a true account of the events on a long ago night when two angels from heaven visited me. It is the story of that angelic encounter as I experienced it. It happened many years ago, but the impressions are still vivid in my memory. It was not a fleeting glimpse of ethereal beings clothed in cloudy mist. Those angels were real. If seen from a distance they probably would have seemed like ordinary men. Close up, however, no one could have mistaken them for men. Anyone would have known they were angels who had come down from heaven. During their first appearance, it seemed to me their speech to me lasted a long time. In retrospect that time period probably could have been measured in minutes. That is true even though they seemed like very long minutes. They were silent during their brief second appearance; albeit puzzled and inquisitive. These angels had about them a mysterious air of another world. They stood in front of my chair, in my living room with an indescribable and lofty majesty. Their posture and demeanor spoke of another sphere of existence. A sphere about which writers have speculated for thousands of years. They somehow reeked of an indescribable physical and mental power that was beyond my comprehension. My initial reaction was fright. A fright so great it overwhelmed my senses. I thought they had come to kill me. That was a certainty in my numbed mind. That fear quickly became life threatening. I did not know it at the time but their actions and speech would be forever impressed on my memory. During their first visit, they were extremely anxious to reassure me. They did not wish me to fear them. Their speech was sympathetic and reassuring. They told me they had not come to injure me in any way. They then explained the reason for their intrusion into my presence. Nothing that I have found anywhere in literature, except perhaps the bible, tells a similar story. My personality underwent a complete change that night. The brief account of that experience is now told for the first time in the 40 years since that encounter. |
| black broadway a proud history: Black Miami in the Twentieth Century Marvin Dunn, 1997-11-19 The first book devoted to the history of African Americans in south Florida and their pivotal role in the growth and development of Miami, Black Miami in the Twentieth Century traces their triumphs, drudgery, horrors, and courage during the first 100 years of the city's history. Firsthand accounts and over 130 photographs, many of them never published before, bring to life the proud heritage of Miami's black community. Beginning with the legendary presence of black pirates on Biscayne Bay, Marvin Dunn sketches the streams of migration by which blacks came to account for nearly half the city’s voters at the turn of the century. From the birth of a new neighborhood known as Colored Town, Dunn traces the blossoming of black businesses, churches, civic groups, and fraternal societies that made up the black community. He recounts the heyday of Little Broadway along Second Avenue, with photos and individual recollections that capture the richness and vitality of black Miami's golden age between the wars. A substantial portion of the book is devoted to the Miami civil rights movement, and Dunn traces the evolution of Colored Town to Overtown and the subsequent growth of Liberty City. He profiles voting rights, housing and school desegregation, and civil disturbances like the McDuffie and Lozano incidents, and analyzes the issues and leadership that molded an increasingly diverse community through decades of strife and violence. In concluding chapters, he assesses the current position of the community--its socioeconomic status, education issues, residential patterns, and business development--and considers the effect of recent waves of immigration from Latin America and the Caribbean. Dunn combines exhaustive research in regional media and archives with personal interviews of pioneer citizens and longtime residents in a work that documents as never before the life of one of the most important black communities in the United States. |
| black broadway a proud history: Historical Dictionary of African American Theater Anthony D. Hill, 2018-11-09 This second edition of Historical Dictionary of African American Theater reflects the rich history and representation of the black aesthetic and the significance of African American theater’s history, fleeting present, and promise to the future. It celebrates nearly 200 years of black theater in the United States and the thousands of black theater artists across the country—identifying representative black theaters, playwrights, plays, actors, directors, and designers and chronicling their contributions to the field from the birth of black theater in 1816 to the present. This second edition of Historical Dictionary of African American Theater, Second Edition contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 700 cross-referenced entries on actors, playwrights, plays, musicals, theatres, -directors, and designers. This book is an excellent resource for students, researchers, and anyone wanting to know and more about African American Theater. |
| black broadway a proud history: Poisoning the Minds of the Lower Orders Don Herzog, 2021-04-13 Conservatism was born as an anguished attack on democracy. So argues Don Herzog in this arrestingly detailed exploration of England's responses to the French Revolution. Poisoning the Minds of the Lower Orders ushers the reader into the politically lurid world of Regency England. Deftly weaving social and intellectual history, Herzog brings to life the social practices of the Enlightenment. In circulating libraries and Sunday schools, deferential subjects developed an avid taste for reading; in coffeehouses, alehouses, and debating societies, they boldly dared to argue about politics. Such conservatives as Edmund Burke gaped with horror, fearing that what radicals applauded as the rise of rationality was really popular stupidity or worse. Subjects, insisted conservatives, ought to defer to tradition--and be comforted by illusions. Urging that abstract political theories are manifest in everyday life, Herzog unflinchingly explores the unsavory emotions that maintained and threatened social hierarchy. Conservatives dished out an unrelenting diet of contempt. But Herzog refuses to pretend that the day's radicals were saints. Radicals, he shows, invested in contempt as enthusiastically as did conservatives. Hairdressers became newly contemptible, even a cultural obsession. Women, workers, Jews, and blacks were all abused by their presumed superiors. Yet some of the lowly subjects Burke had the temerity to brand a swinish multitude fought back. How were England's humble subjects transformed into proud citizens? And just how successful was the transformation? At once history and political theory, absorbing and disquieting, Poisoning the Minds of the Lower Orders challenges our own commitments to and anxieties about democracy. |
| black broadway a proud history: Harry Potter and the Cursed Child J. K. Rowling, Jack Thorne, John Tiffany, 2017 As an overworked employee of the Ministry of Magic, a husband, and a father, Harry Potter struggles with a past that refuses to stay where it belongs while his youngest son, Albus, finds the weight of the family legacy difficult to bear. |
| black broadway a proud history: Her Turn on Stage Grace Barnes, 2015-07-04 Audiences for musical theater are predominantly women, yet shows are frequently created and produced by men. Onstage, female characters are depicted as victims or sex objects and lack the complexity of their male counterparts. Offstage, women are under-represented among writers, directors, composers and choreographers. While other areas of the arts rally behind gender equality, musical theater demonstrates a disregard for women and an authentic female voice. If musical theater reflects prevailing societal attitudes, what does the modern musical tell us about the place of women in contemporary America, the UK and Australia? Are women deliberately kept out of musical theater by men jealously guarding their territory or is the absence of women a result of the modernization of the genre? Based on interviews with successful female performers, writers, directors, choreographers and executives, this book offers a unique female viewpoint on musical theater today. |
| black broadway a proud history: Alabama Folk Pottery Joey Brackner, 2006 This book places historic Alabama pottery-making into a national and international context and describes the technologies that distinguish Alabama potters from the rest of the Southeast. It explains how a blending and borrowing among cultural groups that settled the state nurtured its rich regional traditions. In addition to providing a detailed discussion of pottery types, clays, glazes, slips, and firing methods, the book presents a geographic survey of the state's pottery regions with a comprehensive list of Alabama potters - a valuable resource for collectors, scholars, and curators.--BOOK JACKET. |
| black broadway a proud history: African American Women Playwrights Christy Gavin, 2012-10-12 This Guide includes the primary and secondary works and summaries of plays of 15 prominent African American women playwrights including Lorraine Hansberry, Ntozake Shange, Adrienne Kennedy, Alice Childress, Zora Neale Hurston, Georgia Douglas Johnson. During the last 10 to 15 years, critical consideration of contemporary as well as earlier black women playwrights has blossomed. Plays by black women are increasingly anthologized and two recently published anthologies devote themselves solely to black women dramatists. In light of the growing interest in scholarship concerning African American women playwrights, researchers and librarians need a bibliographical source that brings together the profiles interviews, critical material and primary sources of black female playwrights. This guide will provide a bibliographical essay reviewing the scholarship of black women playwrights as well as for each playwright: a biography, summaries of each play detailed annotations of secondary material, and list of primary sources. |
| black broadway a proud history: "Don't Ask Me My History, Just Listen to My Music" Jennie A. Chinn, 1992 |
| black broadway a proud history: Reframing the Musical Sarah K. Whitfield, 2019-03-01 This critical and inclusive edited collection offers an overview of the musical in relation to issues of race, culture and identity. Bringing together contributions from cultural, American and theatre studies for the first time, the chapters offer fresh perspectives on musical theatre history, calling for a radical and inclusive new approach. By questioning ideas about what the musical is about and who it for, this groundbreaking book retells the story of the musical, prioritising previously neglected voices to reshape our understanding of the form. Timely and engaging, this is required reading for undergraduate and postgraduate students of musical theatre. It offers an intersectional approach which will also be invaluable for theatre practitioners. |
| black broadway a proud history: Choir Boy Tarell Alvin McCraney, 2016-01-11 An exhilarating, multi-layered new play.—The Guardian Stirring and stylishly told . . . McCraney's crispest and most confident work.—Daily News Greatly affecting. . . . It takes a brave writer to set his language against the plaintive beauty of the hymns and spirituals . . . but McCraney's speech holds its own, locating poetry even in casual vernacular and again demonstrating his gift for simile and metaphor.—The Village Voice The Charles R. Drew Prep School for Boys is dedicated to the creation of strong, ethical black men. Pharus wants nothing more than to take his rightful place as leader of the school's legendary gospel choir, but can he find his way inside the hallowed halls of this institution if he sings in his own key? Known for his unique brand of urban lyricism, Tarrell Alvin McCraney follows up his acclaimed trilogy The Brother/Sister Plays with this affecting portrait of a gay youth trying to find the courage to let the truth about himself be known. Set against the sorrowful sounds of hymns and spirituals, Choir Boy premiered at the Royal Court in London before receiving its Off-Broadway premiere in summer 2013 to critical and popular acclaim. Tarell Alvin McCraney is author of The Brother/Sister Plays: The Brothers Size, In the Red and Brown Water, and Marcus; Or the Secret of Sweet. Other works include Wig Out!, set in New York's drag clubs, and The Breach, which deals with the aftermath of Hurricane Katrina. His awards include the 2009 Steinberg Playwrights Award and the Paula Vogel Playwriting Award. |
| black broadway a proud history: Slave Culture : Nationalist Theory and the Foundations of Black America Sterling Stuckey Professor of History Northwestern University, 1987-04-23 How were blacks in American slavery formed, out of a multiplicity of African ethnic peoples, into a single people? In this major study of Afro-American culture, Sterling Stuckey, a leading thinker on black nationalism for the past twenty years, explains how different African peoples interacted during the nineteenth century to achieve a common culture. He finds that, at the time of emancipation, slaves were still overwhelmingly African in culture, a conclusion with profound implications for theories of black liberation and for the future of race relations in America. By examining anthropological evidence about Central and West African cultural traditions--Bakongo, Ibo, Dahomean, Mendi and others--and exploring the folklore of the American slave, Stuckey has arrived at an important new cross-cultural analysis of the Pan-African impulse among slaves that contributed to the formation of a black ethos. He establishes, for example, the centrality of an ancient African ritual--the Ring Shout or Circle Dance--to the black American religious and artistic experience. Black nationalist theories, the author points out, are those most in tune with the implication of an African presence in America during and since slavery. Casting a fresh new light on these ideas, Stuckey provides us with fascinating profiles of such nineteenth century figures as David Walker, Henry Highland Garnet, and Frederick Douglas. He then considers in detail the lives and careers of W. E. B. Dubois and Paul Robeson in this century, describing their ambition that blacks in American society, while struggling to end racism, take on roles that truly reflected their African heritage. These concepts of black liberation, Stuckey suggests, are far more relevant to the intrinsic values of black people than integrationist thought on race relations. But in a final revelation he concludes that, with the exception of Paul Robeson, the ironic tendency of black nationalists has been to underestimate the depths of African culture in black Americans and the sophistication of the slave community they arose from. |
| black broadway a proud history: The Advocate , 1999-03-02 The Advocate is a lesbian, gay, bisexual, transgender (LGBT) monthly newsmagazine. Established in 1967, it is the oldest continuing LGBT publication in the United States. |
| black broadway a proud history: The Cambridge History of Queer American Literature Benjamin Kahan, 2024-06-06 Moby-Dick's Ishmael and Queequeg share a bed, Janie in Zora Neale Hurston's Their Eyes Were Watching God imagines her tongue in another woman's mouth. And yet for too long there has not been a volume that provides an account of the breadth and depth of queer American literature. This landmark volume provides the first expansive history of this literature from its inception to the present day, offering a narrative of how American literary studies and sexuality studies became deeply entwined and what they can teach each other. It examines how American literature produces and is in turn woven out of sexualities, gender pluralities, trans-ness, erotic subjectivities, and alternative ways of inhabiting bodily morphology. In so doing, the volume aims to do nothing less than revise the ways in which we understand the whole of American literature. It will be an indispensable resource for scholars, graduate students, and undergraduates. |
| black broadway a proud history: Tap Dancing America Constance Valis Hill, 2014-11-12 Here is the vibrant, colorful, high-stepping story of tap -- the first comprehensive, fully documented history of a uniquely American art form. Writing with all the verve and grace of tap itself, Constance Valis Hill offers a sweeping narrative, filling a major gap in American dance history and placing tap firmly center stage. |
| black broadway a proud history: Prince of Darkness Shane White, 2015-10-13 “A well-told, stereotype-busting tale about a nineteenth century black financier who dared to be larger than life, and got away with it!” —Elizabeth Dowling Taylor, New York Times–bestselling author In the middle decades of the nineteenth century Jeremiah G. Hamilton was a well-known figure on Wall Street. Cornelius Vanderbilt, America’s first tycoon, came to respect, grudgingly, his one-time opponent. Their rivalry even made it into Vanderbilt’s obituary. What Vanderbilt’s obituary failed to mention, perhaps as contemporaries already knew it well, was that Hamilton was African American. Hamilton, although his origins were lowly, possibly slave, was reportedly the richest black man in the United States, possessing a fortune of $2 million, or in excess of two hundred and $50 million in today’s currency. In Prince of Darkness, a groundbreaking and vivid account, eminent historian Shane White reveals the larger than life story of a man who defied every convention of his time. He wheeled and dealed in the lily-white business world, he married a white woman, he bought a mansion in rural New Jersey, he owned railroad stock on trains he was not legally allowed to ride, and generally set his white contemporaries teeth on edge when he wasn’t just plain outsmarting them. An important contribution to American history, Hamilton’s life offers a way into considering, from the unusual perspective of a black man, subjects that are usually seen as being quintessentially white, totally segregated from the African American past. “If this Hamilton were around today, he might have his own reality TV show or be a candidate for president . . . An interesting look at old New York, race relations, and high finance.” —New York Post |
| black broadway a proud history: Jet , 1977-06-30 The weekly source of African American political and entertainment news. |
| black broadway a proud history: , |
| black broadway a proud history: Purlie , 1971 An African American preacher returns to his hometown to open a church, outwitting a segregationist plantation owner to make it happen. |
| black broadway a proud history: Virtue and Vice: Volume 15, Part 1 Ellen Frankel Paul, Fred Dycus Miller, Jeffrey Paul, 1998-02-13 The essays in this volume examine the nature of virtue and its role in moral theory. |
| black broadway a proud history: T.O.B.A. Time Michelle R. Scott, 2023-02-28 Black vaudevillians and entertainers joked that T.O.B.A. stood for “tough on black artists.” But the Theater Owner’s Booking Association (T.O.B.A.) played a foundational role in the African American entertainment industry and provided a training ground for icons like Cab Calloway, Bessie Smith, Ethel Waters, Sammy Davis Jr., the Nicholas Brothers, Count Basie, and Butterbeans and Susie. Michelle R. Scott’s institutional history details T.O.B.A.’s origins and practices while telling the little-known stories of the managers, producers, performers, and audience members involved in the circuit. Looking at the organization over its eleven-year existence (1920–1931), Scott places T.O.B.A. against the backdrop of what entrepreneurship and business development meant in black America at the time. Scott also highlights how intellectuals debated the social, economic, and political significance of black entertainment from the early 1900s through T.O.B.A.’s decline during the Great Depression. Clear-eyed and comprehensive, T.O.B.A. Time is a fascinating account of black entertainment and black business during a formative era. |
| black broadway a proud history: Hebrewisms of West Africa Joseph J. Williams, 1999 In this massive work, Joseph J. Williams documents the Hebraic practices, customs, and beliefs, which he found among the people of Jamaica and the Ashanti of West Africa. He initially examines the close relationship between the Jamaican and the Ashanti cultures and the folk beliefs. He then studies the language and culture of the Ashanti (of whom many Jamaicans have descended) by comparing them to well known and established Hebraic traditions. William's findings suggest stunning similarities. And, he challenges the reader by concluding that Hebraic traditions must have swept across negro Africa and left its influence among the various tribes. While Williams presents a strong case, his evidence, including hundreds of quoted sources, also builds a strong case for the reverse--that an indigenous, continent-wide belief system among African people stands at the very root of Hebrew culture and Western religion. First published in 1931 and long out-of-print, today's reader will find Hebrewisms a valuable resource for understanding the cultural unity of African people. |
| black broadway a proud history: Index of Bicentennial Activities American Revolution Bicentennial Administration, 1976 |
| black broadway a proud history: Joliet News Historical Edition , 1884 |
| black broadway a proud history: The Bookmart , 1883 |
| black broadway a proud history: The Crisis , 1980-11 The Crisis, founded by W.E.B. Du Bois as the official publication of the NAACP, is a journal of civil rights, history, politics, and culture and seeks to educate and challenge its readers about issues that continue to plague African Americans and other communities of color. For nearly 100 years, The Crisis has been the magazine of opinion and thought leaders, decision makers, peacemakers and justice seekers. It has chronicled, informed, educated, entertained and, in many instances, set the economic, political and social agenda for our nation and its multi-ethnic citizens. |
| black broadway a proud history: Congressional Record United States. Congress, 2009 |
| black broadway a proud history: Country Home , 1991 |
| black broadway a proud history: Life Behind a Veil George C. Wright, 2004-09-01 In the period between the Civil War and the Great Depression, Louisville, Kentucky was host to what George C. Wright calls a polite form of racism. There were no lynchings or race riots, and to a great extent, Louisville blacks escaped the harsh violence that was a fact of life for blacks in the Deep South. Furthermore, black Louisvillians consistently enjoyed and exercised an oft-contested but never effectively retracted enfranchisement. However, their votes usually did not amount to any real political leverage, and there were no radical improvements in civil rights during this period. Instead, there existed a delicate balance between relative privilege and enforced passivity.A substantial paternalism carried over from antebellum days in Louisville, and many leading white citizens lent support to a limited uplifting of blacks in society. They helped blacks establish their own schools, hospitals, and other institutions. But the dual purpose that such actions served, providing assistance while making the maintenance of strict segregation easier, was not incidental. Whites salved their consequences without really threatening an established order. And blacks, obliged to be grateful for the assistance, generally refrained from arguing for real social and political equality for fear of jeopardizing a partially improved situation and regressing to a status similar to that of other southern blacks.In Life Behind a Veil: Blacks in Louisville, Kentucky, 1865 - 1930, George Wright looks at the particulars of this form of racism. He also looks at the ways in which blacks made the most of their less than ideal position, focusing on the institutions that were central to their lives. Blacks in Louisville boasted the first library for blacks in the United States, as well as black-owned banks, hospitals, churches, settlement houses, and social clubs. These supported and reinforced a sense of community, self-esteem, and pride that was often undermined by the white world.Life Behind a Veil is a comprehensive account of race relations, black response to white discrimination, and the black community behind the walls of segregation in this border town. The title echoes Blyden Jackson's recollection of his childhood in Louisville, where blacks were always aware that there were two very distinct Louisvilles, one of which they were excluded from. |
| black broadway a proud history: What It Was Like...short stories of childhood memories of segregation in America Lois Watkins, 2016-02-24 A series of short stories describing childhood experiences in segregated Little Rock, Arkansas during the 1940's & 50's. Keywords: Short Stories, Segregation, Childhood Perception Of Race & Racism, Black Segregated Community, Segregation Revisionism, Segregation Aberrations, Juvenile Non Fiction |
| black broadway a proud history: History and Commerce of New York, 1891 , 1891 |
| black broadway a proud history: The Historical Magazine John Ward Dean, George Folsom, John Gilmary Shea, Henry Reed Stiles, Henry Barton Dawson, 1866 |
| black broadway a proud history: Ebony , 1991-03 EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine. |
| black broadway a proud history: American Musicals in Context Thomas A. Greenfield, 2021-03-29 American Musicals in Context: From the American Revolution to the 21st Century gives students a fresh look at history-based musicals, helping readers to understand the American story through one of the country's most celebrated art forms: the musical. With the hit musical Hamilton (2015) captivating audiences and reshaping the way early U.S. history is taught and written about, this book offers insight into an array of musicals that explore U.S. history. The work provides a synopsis, overview of critical and audience reception, and historical context and analysis for each of 20 musicals selected for the unique and illuminating way they present the American story on the stage. Specifically, this volume explores musicals that have centered their themes, characters, and plots on some aspect of America's complex and ever-changing history. Each in its own way helps us rediscover pivotal national crises, key political decisions, defining moral choices, unspeakable and unresolved injustices, important and untold stories, defeats suffered, victories won in the face of monumental adversity, and the sacrifices borne publicly and privately in the process of creating the American narrative, one story at a time. Students will come away from the volume armed with the critical thinking skills necessary to discern fact from fiction in U.S. history. |
| black broadway a proud history: The Historical Magazine and Notes and Queries Concerning the Antiquities, History and Biography of America John Ward Dean, George Folsom, John Gilmary Shea, Henry Reed Stiles, Henry Barton Dawson, 1866 |
| black broadway a proud history: City Living Quill R Kukla, 2021-10-08 City Living is about urban spaces, urban dwellers, and how these spaces and people make, shape, and change one another. More people live in cities than ever before: more than 50% of the earth's people are urban dwellers. As downtown cores gentrify and globalize, they are becoming more diverse than ever, along lines of race, ethnicity, socioeconomic class, sexuality, and age. Meanwhile, we are in the early stages of what seems sure to be a period of intense civil unrest. During such periods, cities generally become the primary sites where tensions and resistance are concentrated, negotiated, and performed. For all of these reasons, understanding cities and contemporary city living is pressing and exciting from almost any disciplinary and political perspective. Quill R Kukla offers the first systematic philosophical investigation of the nature of city life and city dwellers. The book draws on empirical and ethnographic work in geography, anthropology, urban planning, and several other disciplines in order to explore the impact that cities have on their dwellers and that dwellers have on their cities. It begins with a philosophical exploration of spatially embodied agency and of the specific forms of agency and spatiality that are distinctive of urban life. It explores how gentrification is enacted and experienced at the level of embodied agency, arguing that gentrifying spaces are contested territories that shape and are shaped by their dwellers. The book then moves to an exploration of repurposed cities, which are cities materially designed to support one sociopolitical order, but in which that order collapsed, leaving new dwellers to use the space in new ways. Through detailed original ethnography of the repurposed cities of Berlin and Johannesburg, Kukla makes the case that in repurposed cities, we can see vividly how material spaces shape and constrain the agency and experience of dwellers, while dwellers creatively shape the spaces they inhabit in accordance with their needs. The book concludes with a reconsideration of the right to the city, asking what would be involved in creating a city that enabled the agency and flourishing of all its diverse inhabitants. |
PRIMETIME - Oregon Public Broadcasting
Broadway performer and concert soloist Nikki Renée Daniels. Photo courtesy of Nouveau Productions Black B r oa dway: A Proud History, A Limitless Future February 28, 8pm …
Blacks on Broadway: A Trend on the Rise - College of DuPage
Dating back to the late 19th century, there have been several all-black or mostly black productions that have challenged the norms of Broadway as a whole. A continuously growing process, all …
Race on Broadway Views from Onstage and Behind the Curtain
contributing to exclusion of non-white actors from Broadway productions, the potential impacts regarding recent resurgence of the BLM movement regarding promotion and expansion of …
The Great White Way: Critics and the First Black Playwrights …
First Black Playwrights on Broadway In the past, success for most American playwrights has meant commercial success on Broadway. Black playwrights in particular have paid a high price …
Alumna publishes “Black Broadway” - thegccollegian.com
has a Broadway history of its own. Thomas wrote “Black Broadway” about the African-American com-munity that turned Washington’s Greater U Street into a hub for nightlife, business and …
Caseen Gaines (2023): When Broadway Was Black - Springer
Gaines seeks to shed light on the history of Black theatre and the successes it has had. Gaines gives hope to black sto-rytellers that have gone unrecognized as well as new storytellers that …
Race-Conscious Casting and the Erasure of the Black Past in …
Broadway, the show had already sold over two hundred thousand tickets, one of the largest pre-opening sales figures in Broadway history. Since then, critics have overwhelmingly praised …
Playhouse Square Celebrates Black History Month through a …
Cleveland, OH – Playhouse Square is proud to celebrate Black History Month with a special digital display throughout the District and a variety of captivating performances honoring the …
Black Broadway African Americans On The Great White Way
The First Black Actors on the Great White Way Susan Curtis,2001 A detailed study of Three Plays for a Negro Theater the first all black cast production on Broadway tells the story of those …
Racing the Great White Way: Black Performance, Eugene …
Broadway was the central creative engine of U.S. theater during the early twentieth century. Focusing on playwright Eugene O’Neill and the actors who performed his work, this book …
African American Theatre and Performance - Scholars at …
This course investigates the history of African American theatre and performance from the antebellum era through the Depression—with an occasional leap into the present.
Dance & Bmore’s Inaugural Theater Season Historic Black …
Baltimore, MD - Dance & Bmore has announced its newest program, Bmore Broadway Live, dedicated to producing Broadway-caliber shows with Baltimore talent. Each Bmore Broadway …
Black Broadway African Americans On The Great White Way …
Black Broadway Stewart F. Lane,2015 The African American actors and actresses whose names have shone brightly on Broadway marquees earned their place in history not only through hard …
The Origin and Development of the Black Musical Theater: A …
In September 1821 the fledgling company staged its first production. Some seventy-seven years later-on April 4, 1898, to be exact-a black company staged a pro- duction that has been hailed …
THE HISTORY - The Broadway League
Broadway is rich in history and so is The Broadway League, which was founded in 1930! As an industry that has become synonymous with New York City, we feel it is important to capture the …
Oh, Yo Blacu k Bottom!'* Appropriation, Authenticity, and …
Bradley's choreography while I seek to identify what "authentic black movement" might have looked like on musical theater stages of the era and within the black Broadway studios that …
Black Cats, Berlin, Broadway And Beyond: Cabaret History In …
BLACK CATS, BERLIN, BROADWAY AND BEYOND had its first public performance on 3 May 2006 at the University of Central Florida Black Box Theatre in Orlando, Florida. This …
The Genesis of 'Black, Brown and Beige' - JSTOR
composed Black, Brown and Beige quickly-and evidence suggests he did just that-he had been conceiving a large-scale work based on themes from African-American history for more than a …
LeRoi Jones: High Priest of the Black Arts Movement
The Black Arts Repertory Theatre and School, founded in Harlem in the Spring of 1965, was the first attempt at such a theatre. Its founding father was LeRoi Jones, its mother was the black …
PRIMETIME - Oregon Public Broadcasting
Broadway performer and concert soloist Nikki Renée Daniels. Photo courtesy of Nouveau Productions Black B r oa dway: A Proud History, A Limitless Future February 28, 8pm …
Blacks on Broadway: A Trend on the Rise - College of DuPage
Dating back to the late 19th century, there have been several all-black or mostly black productions that have challenged the norms of Broadway as a whole. A continuously growing process, all …
Race on Broadway Views from Onstage and Behind the Curtain
contributing to exclusion of non-white actors from Broadway productions, the potential impacts regarding recent resurgence of the BLM movement regarding promotion and expansion of …
The Great White Way: Critics and the First Black Playwrights …
First Black Playwrights on Broadway In the past, success for most American playwrights has meant commercial success on Broadway. Black playwrights in particular have paid a high …
Alumna publishes “Black Broadway” - thegccollegian.com
has a Broadway history of its own. Thomas wrote “Black Broadway” about the African-American com-munity that turned Washington’s Greater U Street into a hub for nightlife, business and …
Caseen Gaines (2023): When Broadway Was Black - Springer
Gaines seeks to shed light on the history of Black theatre and the successes it has had. Gaines gives hope to black sto-rytellers that have gone unrecognized as well as new storytellers that …
Race-Conscious Casting and the Erasure of the Black Past …
Broadway, the show had already sold over two hundred thousand tickets, one of the largest pre-opening sales figures in Broadway history. Since then, critics have overwhelmingly praised …
Playhouse Square Celebrates Black History Month through a …
Cleveland, OH – Playhouse Square is proud to celebrate Black History Month with a special digital display throughout the District and a variety of captivating performances honoring the …
Black Broadway African Americans On The Great White Way
The First Black Actors on the Great White Way Susan Curtis,2001 A detailed study of Three Plays for a Negro Theater the first all black cast production on Broadway tells the story of those …
Racing the Great White Way: Black Performance, Eugene …
Broadway was the central creative engine of U.S. theater during the early twentieth century. Focusing on playwright Eugene O’Neill and the actors who performed his work, this book …
African American Theatre and Performance - Scholars at …
This course investigates the history of African American theatre and performance from the antebellum era through the Depression—with an occasional leap into the present.
Dance & Bmore’s Inaugural Theater Season Historic Black …
Baltimore, MD - Dance & Bmore has announced its newest program, Bmore Broadway Live, dedicated to producing Broadway-caliber shows with Baltimore talent. Each Bmore Broadway …
Black Broadway African Americans On The Great White Way …
Black Broadway Stewart F. Lane,2015 The African American actors and actresses whose names have shone brightly on Broadway marquees earned their place in history not only through hard …
The Origin and Development of the Black Musical Theater: A …
In September 1821 the fledgling company staged its first production. Some seventy-seven years later-on April 4, 1898, to be exact-a black company staged a pro- duction that has been hailed …
THE HISTORY - The Broadway League
Broadway is rich in history and so is The Broadway League, which was founded in 1930! As an industry that has become synonymous with New York City, we feel it is important to capture …
Oh, Yo Blacu k Bottom!'* Appropriation, Authenticity, and …
Bradley's choreography while I seek to identify what "authentic black movement" might have looked like on musical theater stages of the era and within the black Broadway studios that …
Black Cats, Berlin, Broadway And Beyond: Cabaret History …
BLACK CATS, BERLIN, BROADWAY AND BEYOND had its first public performance on 3 May 2006 at the University of Central Florida Black Box Theatre in Orlando, Florida. This …
The Genesis of 'Black, Brown and Beige' - JSTOR
composed Black, Brown and Beige quickly-and evidence suggests he did just that-he had been conceiving a large-scale work based on themes from African-American history for more than a …
LeRoi Jones: High Priest of the Black Arts Movement
The Black Arts Repertory Theatre and School, founded in Harlem in the Spring of 1965, was the first attempt at such a theatre. Its founding father was LeRoi Jones, its mother was the black …
