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Books on the topic 'Negro de eriocromo T'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Negro thought in America, 1880-1915: Racial ideologies in the age of Booker T. Washington : with a new introduction. University of Michigan Press, 1988.

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2

Booker T. Washington and the struggle against white supremacy: The southern educational tours, 1908-1912. Palgrave Macmillan, 2008.

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3

Washington, Booker T. Booker T. Washington The Negro in Business. DeVore & Sons, 1992.

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4

Haskins. The Negro Leaguesprepak 20: Champion of T. Henry Holt & Company, 1997.

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5

Jaza, Mylia Tiye Mal, and Mary M. Jefferson. The Old Negro and The New Negro by T. LeRoy Jefferson, MD. Xlibris Corporation, 2006.

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6

Jaza, Mylia Tiye Mal, and Mary M. Jefferson. The Old Negro and The New Negro by T. LeRoy Jefferson, MD. Xlibris Corporation, 2006.

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7

Dying Negro By T Day And J Bicknell Second Edition With Additions. British Library, Historical Print Editions, 2011.

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8

Memórias de um Negro Americano. Nova Fronteira, 2020.

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9

Washington, Booker T. Booker T. Washington Collection: The Negro Problem, Up from Slavery, the Future of the American Negro, the History of Slavery. Ancient Cypress Press, 2019.

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10

1856-1915, Washington Booker T., ed. The Negro problem / contributions by Booker T. Washington ... [et al.] ; with an introduction by Bernard R. Boxill. Humanity Books, 2003.

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11

Rebecca, Carroll, and Washington Booker T. 1856-1915, eds. Uncle Tom or new Negro: African Americans reflect on Booker T. Washington and Up from slavery 100 years later. Broadway Books/Harlem Moon, 2006.

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12

Carroll, Rebecca. Uncle Tom or New Negro?: African Americans Reflect on Booker T. Washington and UP FROM SLAVERY 100 Years Later. Harlem Moon, 2006.

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13

Bontemps, Arna. The Theater. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0028.

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This chapter focuses on Negro theater in Illinois. In May 1877, a Negro troupe played Out of Bondage in Chicago, and the Daily Inter Ocean described the performance as “one of the very best representations of slave life as it existed before the war that has ever been presented to the public.” But it was the arrival of Sam T. Jacks and his Creole Show in Chicago in 1893 that ushered in a new phase of the Negro's evolution in the theater. The chapter first considers minstrelsy and minstrel shows featuring actors in blackface before turning to various comedians, vocalists, and dancers who perform

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14

Snyder, Jean E. The Symphony “From the New World”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0007.

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This chapter focuses on Harry T. Burleigh's involvement in the creation of Antonín Dvořák's Symphony No. 9 in E Minor, “From the New World.” After attending the Chicago World's Fair and visiting Erie, Burleigh returned to New York City in late September 1893 to continue his studies at the National Conservatory of Music. He was joined this time by his friend Will Marion Cook, who was impressed by Jeannette Thurber's genuinely inclusive approach in recruiting students. The two men relished opportunities to enjoy the abundance of fine music the city had to offer, pondering how African American mu

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15

Bauman, Thomas. The New Pekin. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038365.003.0003.

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This chapter focuses on Robert T. Motts's conversion of the Pekin Theater to New Pekin after it was damaged by fire in January 1910. At the time of the fire the Pekin Temple of Music had already established itself as “a credit to the Negro race.” Motts saw rebuilding not only as necessary to “get under way again” but also as an opportunity to aim for something even higher. There were no more comparisons of the Pekin with beer gardens, cabarets, or cafés chantants, but rather with the best legitimate theaters that Chicago had to offer. At the New Pekin, Motts himself took over Will H. Smith's d

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16

Snyder, Jean E. Burleigh Spirituals and the Harlem Renaissance. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0017.

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This chapter examines the controversy between Harry T. Burleigh and his colleagues and critics over the issue of spirituals during the Harlem Renaissance. Although Burleigh was still regarded as the pioneer and by most as the master arranger of spirituals during the mid-1920s, there were dissenting voices. Henry Krehbiel, for example, warned against oversophistication of African American folk music “by standardizing its form, making it conform to the standard of music of European conception.” Carl Van Vechten also criticized Burleigh and his colleagues for relying on the Hampton and Fisk colle

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