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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 4 березня 2023

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Статті в журналах з теми "American drama African American authors"

Elam, Harry. "A History of African American Theatre. By Errol G. Hill and James V. Hatch. Cambridge Studies in American Theatre and Drama. Cambridge: Cambridge University Press, 2003; pp. 608. $130 cloth." Theatre Survey 46, no. 1 (May 2005): 127–29. http://dx.doi.org/10.1017/s0040557405220094.

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Over the more than twenty years since the publication of two profoundly influential collections—Errol Hill's two-volume anthology of critical essays The Theatre of Black Americans (1980) and James V. Hatch's first edition of the play anthology Black Theatre USA (1974)—there has been considerable activity in African American theatre scholarship. Yet even as scholars have produced new collections of historical and critical essays that cover a wide range of African American theatre history, book-length studies that document particular moments in the historical continuum such as the Harlem Renaissance, and Samuel Hay's broader study African American Theatre: An Historical and Critical Analysis (1994), no one until now has written a comprehensive study of African American theatre history. Into this void have stepped two of the aforementioned distinguished scholars of African American theatre, Errol G. Hill and James V. Hatch. To be certain, writing a comprehensive history of African American theatre poses a daunting challenge for anyone hearty enough to undertake it. Where to begin? What to include and exclude? With their study, A History of African American Theatre, Hill and Hatch show themselves indeed worthy of the challenge. They explore the evolution of African American theatre across time and space, documenting the particular efforts of artists, writers, scholars, and practitioners, from inside as well as outside the United States, that have had an impact on our understanding of African American theatre. The authors make clear that the definition of African American theatre from the beginning has been in constant flux and that it has been affected by the changing social times in American as much as it has influenced those times.

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Čirić-Fazlija, Ifeta. "Staging Race and Gender in the Era of Contemporary Crises: Dramas of African American Women Playwrights." American, British and Canadian Studies 39, no. 1 (December 1, 2022): 54–78. http://dx.doi.org/10.2478/abcsj-2022-0017.

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Abstract Starting from the premise that contemporary crisis is a pervasive continuation of the modern “series of interrelated crises” (Fernández-Caparrós and Brígido-Corachán vii), this article examines the manner in which the US theater has responded to the outbreak of the COVID-19 pandemic. Simultaneously considering crises as “agents of change and transformation” (xvii) and bearing in mind the #MeToo, and Black Lives Matter movements, the article questions the likelihood of contemporary American theater overcoming its own crisis of representation. Relating modern and current crises, the essay first outlines twentieth century dramatic literature and theatersi against the backdrop of the World Wars, the 1918 health crisis, economic depression, and post-war (racialized) society, focusing on plays by American women of color. The study then centers on dramatic and theatrical developments brought about by the annus horribilis of 2020, surveying new genres, authors and performances, and discerning no significant improvement in systemic discrimination on Broadway stages. The essay also offers complementary reading of Trouble in Mind (1955), a meta-drama mirroring systemic racial and gender discrimination in American theaters, and By the Way, Meet Vera Stark (2011) which unravels similar issues, albeit in the film industry.

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Houchins, Sue E. "Novices in the Archives: Restoring, Preserving and Digitising an African Archive." African Research & Documentation 134 (2018): 22–29. http://dx.doi.org/10.1017/s0305862x00023001.

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In 2013, I traveled to the Khama III Memorial Museum in Serowe, Botswana, to deliver a paper at a conference honoring the fortieth anniversary of the publication of southern African author Bessie Head's celebrated novel A Question of Power. This was my first visit to the museum that houses the author's archives which contain most of her correspondence with literary agents, publishers, historians, anthropologists, literary critics, and other writers - including Alice Walker, Nikki Giovanni, Toni Morrison, and Gabriel Garcia Marquez. They also include some of her original manuscripts, agricultural notes, and publishing contracts.All the scholars who presented papers on this occasion, except for one, were Africanists who focused on the literatures of the Continent. The outlier who specialised in African American drama delivered a comparative study between Head's short fiction and works by Black Atlantic writers.

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Anita González. "Diversifying African American Drama." Theatre Topics 19, no. 1 (2009): 59–66. http://dx.doi.org/10.1353/tt.0.0052.

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Frisina, Kyle C. "Contemporary African-American Drama at Visuality’s Limits." Modern Drama 63, no. 2 (May 2020): 197–220. http://dx.doi.org/10.3138/md.63.2.1080.

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Wood, Jacqueline. "Enacting Texts: African American Drama, Politics, and Presentation in the African American Literature Classroom." College Literature 32, no. 1 (2005): 103–26. http://dx.doi.org/10.1353/lit.2005.0016.

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Nesmith, N. Graham, and Christine Rauchfuss Gray. "Willis Richardson, Forgotten Pioneer of African-American Drama." African American Review 35, no. 2 (2001): 331. http://dx.doi.org/10.2307/2903272.

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Thompson, Lisa B. "A Beautiful Pageant: African American Theatre, Drama, and Performance in the Harlem Renaissance, 1910–1927. By David Krasner. New York: Palgrave Macmillan, 2002; pp. 370. $35 cloth; Stories of Freedom in Black New York. By Shane White. Cambridge, MA: Harvard University Press, 2002; pp. 260. $27.95 cloth." Theatre Survey 45, no. 1 (May 2004): 123–25. http://dx.doi.org/10.1017/s004055740424008x.

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In “Writing the Absent Potential: Drama, Performance, and the Canon of African-American Literature,” Sandra Richards argues that scholars largely ignore the African-American contribution to theatre and performance. She suspects that most critics regard “drama as a disreputable member of the family of literature” (65). Even African Americanists neglect dramatic literature; indeed, the Norton Anthology of African American Literature includes only a scant number of plays. Both David Krasner and Shane White effectively redress this oversight and shift the focus from African-American literature to blacks on stage in their recent monographs about early nineteenth-century and early twentieth-century drama.

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Elam, Jr., Harry. "August Wilson, Doubling, Madness, and Modern African-American Drama." Modern Drama 43, no. 4 (December 2000): 611–32. http://dx.doi.org/10.3138/md.43.4.611.

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WILLIAMS, JAMES HERBERT, WENDY F. AUSLANDER, CHERYL A. HOUSTON, HOPE KREBILL, and DEBRA HAIRE-JOSHU. "African American Family Structure." Journal of Family Issues 21, no. 7 (October 2000): 838–57. http://dx.doi.org/10.1177/019251300021007002.

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This study addresses the following research questions: (a) What are the various types of family structures that exist in urban African American households? and (b) to what extent do differences in family structure influence social, psychological, and economic well-being as reported by urban African American women? The authors present findings from 301 African American women who participated in a community-based nutrition prevention program in a large Midwestern urban center. This study's results indicate that family structure has more influence on African American women's economic well-being than do social and psycho-logical factors. Implications of these findings for intervention are presented.

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Дисертації з теми "American drama African American authors"

De, Wagter Caroline. "Mouths on fire with songs: negotiating multi-ethnic identities on the contemporary North american stage." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210237.

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A travers une étude interculturelle détaillée et comparée de la production théâtrale minoritaire canadienne et américaine, ma thèse cherche à mettre en lumière les les apports thématiques et esthétiques du théâtre multi-ethnicque nord-américain contemporain à la tradition anglo-américaine du 20ème siècle. Les communautés asiatiques, africaines et aborigènes sont retenues comme poste d'observation privilégié de l'expression esthétique de la condition multiculturelle postcoloniale dans le théâtre nord-américain de la période allant de 1972 à nos jours. Sur base d'un corpus de pièces de théâtre, ma recherche m'a permis de redéfinir les grandes articulations des notions d'hybridité, d'identité et de communauté/nation postcoloniale.

Through a detailed cross-cultural approach of the English Canadian and American minority theatrical production, my thesis aims to identify the thematic and aesthetic contributions of multi-ethnic North American drama to the Anglo-American tradition of the 20th century. My study examines North American drama from the vantage points of African, Asian, and Native communities from 1972 until today. Relying on a number of case studies, my research opened up new avenues for rethinking the notions of hybridity and identity in relation to the postcolonial community/nation.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.

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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.

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Pinkney, Michael L. "African-American dramatic theory as subject of cultural studies : an historical overview and analysis /." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488190109869644.

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Hanley, Mary Stone. "Learning to fly : the knowledge construction of African American adolescents through drama /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/7536.

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Macon, Wanda Celeste. "Adolescent characters' sexual behavior in selected fiction of six twentieth century African American authors /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487779120905746.

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Eley, Dikeita N. "Color (Sub)Conscious: African American Women, Authors, and the Color Line in Their Literature." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd/1486.

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Color (sub)Conscious explores the African American female's experience with colorism. Divided into three distinct sections. The first section is a literary analysis of such works as Toni Morrison's The Bluest Eye, Gloria Naylor's The Women of Brewster Place, Maya Angelou's I Know Why the Caged Bird Sings and Alice Walker's "If the Present Looks Like the Past, What Does the Future Look Like?" an essay from her collection In Search of Our Mothers' Gardens. The second section is a research project based on data gathered from 12 African American females willing to share their own experiences and insights on colorism. The final section is a creative non-fiction piece of the author's own personal pain growing up and living with the lasting effects of colorism.

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Potter, Lawrence T. "Harlem's forgotten genius : the life and works of Wallace Henry Thurman /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946287.

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McKinley, Teresa M. "DysFunktional? Breakin' the Bricks and Shattering the Myths of African American Women." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/theses/2745.

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This thesis details the development of the full-length play, DyFuNkTioNal? from conception to the prewriting to full production over the course of the 2017-2020 school year at Southern Illinois University Carbondale. My intentions for writing this play was motivated by six thoughts: (1) the lack of interest within the Carbondale community to provide real opportunities for ethnic groups (in particular, African American preteens and teenagers) to participate in theatrical expression and other art forms that are introduced via art programs; (2) lack of motivation of the African-American teens to participate in the programs that the city of Carbondale provided; (3) my interest in Black feminist theory, which became popular in the 1960s as a response to the racism of the feminist movement and sexism of the Civil Rights Movement; (4) the art of graffiti as it slowly evolved from intolerance to tolerance of females, which leads to the tapping of the “glass ceiling” with the goal to shatter it in the near future; (5) to encourage and educate Black females no matter what age to realize and honor their personal value within society; and (6) to enlightened the viewer of issues regarding African American females whose plight is far different from their white counterparts. As explained by Princeton Professor Keeanga Yamahtta Taylor, “Black women’s experiences cannot be reduced to either race or gender but have to be understood on their own terms” (Smith, timeline.com, 2018). As the Combahee River Collective Statement read, “We realize that the only people who care enough about us to work consistently for our liberation is us.” (Smith, timeline.com, 2018)During the writing of the play, I was inspired by the words of Erykah Badu’s song Bag Lady, which ask women to “hold the mirrors to ourselves and be able to accept that we need work if we expect to catch the buses in our lives. The good parent bus, the education bus, the decent job bus, the healthy self-image bus all requires self-reflection and sometimes that doesn't sound like a bra-burning, ball-busting anthem” (Roricka, soulbounce.com, 2010). Therefore, this led to the question, would I be able to honestly create, a play that could positively change the viewer’s perception on the plight of African American women’s struggles of inequality while existing in a patriarchal and racist world?

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Harris, John Rogers. "The performance of black masculinity in contemporary black drama." Columbus, OH : Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054742668.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from first page of PDF file. Document formatted into pages; contains vii, 233 p. Includes abstract and vita. Advisor: Stratos E. Constantinidis, Dept. of Theatre. Includes bibliographical references (p. 214-233).

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Raines-Sapp, Carol Lynn. "Using author studies to incorporate multicultural literature across the New Jersey core curriculum /." Full text available online, 2009. http://www.lib.rowan.edu/find/theses.

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Книги з теми "American drama African American authors"

Woodie, King, and Milner Ron, eds. Black drama anthology. New York, N.Y: Meridian, 1986.

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Woodie, King, and Milner Ron, eds. Black drama anthology. New York: New American Library, 1986.

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Kathryn, Ervin, and Walker Ethel Pitts, eds. African American scenebook. New York: Falmer Press, 1999.

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1931-, Turner Darwin T., ed. Black drama in America: An anthology. 2nd ed. Washington, D.C: Howard University Press, 1994.

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B, Branch William, ed. Black thunder: An anthology of contemporary African-American drama. New York, N.Y., U.S.A: Mentor, 1992.

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Woodie, King, ed. The national black drama anthology: Eleven plays from America's leading African-American theaters. New York: Applause, 1995.

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1938-, Smith Chuck, ed. Seven Black plays: The Theodore Ward Prize for African American Playwriting. Evanston, Ill: Northwestern University Press, 2004.

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1889-, Richardson Willis, ed. Plays and pageants from the life of the Negro. Jackson: University Press of Mississippi, 1994.

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Errol, Hill, ed. Black heroes: Seven plays. New York: Applause Theatre Book Puhblishers, 1989.

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Justin, Elam Harry, and Alexander Robert, eds. Colored contradictions: An anthology of contemporary African-American plays. New York, N.Y., U.S.A: Plume, 1996.

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Частини книг з теми "American drama African American authors"

Pearce, Michael. "Kwame Kwei-Armah’s African American Inspired Triptych." In Modern and Contemporary Black British Drama, 128–44. London: Macmillan Education UK, 2015. http://dx.doi.org/10.1007/978-1-137-50629-0_9.

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Carretta, Vincent. "Back to the Future: Eighteenth-Century Transatlantic Black Authors." In A Companion to African American Literature, 9–24. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch1.

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Palmer, David. "Shaming, Rebellion, and Tragedy: Arthur Miller and African American Drama." In Arthur Miller for the Twenty-First Century, 99–121. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37293-4_7.

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Beth, Turner. "Black Female Sexuality in the Drama of Pearl Cleage." In The Routledge Companion to African American Theatre and Performance, 106–10. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-21.

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Pearce, Michael. "African American Myths, Music, Icons in Mojisola Adebayo’s Moj of the Antarctic and Muhammad Ali and Me." In Black British Drama, 70–87. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688787-4.

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Guthrie, Ricardo. "Oprah Winfrey and the Trauma Drama: “What’s So Good About Feeling Bad?”." In Presenting Oprah Winfrey, Her Films, and African American Literature, 45–78. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137282460_3.

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Phyllisa, Smith Deroze. "Creatively Censoring African American Drama While Teaching in the Arab Gulf Region." In The Routledge Companion to African American Theatre and Performance, 295–98. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-58.

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Osumare, Halifu. "Dancing in Africa." In Dancing in Blackness. University Press of Florida, 2018. http://dx.doi.org/10.5744/florida/9780813056616.003.0006.

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Chapter 5 records the author’s bold move to Ghana, West Africa for nine months to study and research the basis of black dance in the Americas. She studies the curriculum of the School of Music, Dance, and Drama (SMDD) at the University of Ghana, Legon, under the ethnomusicologist Dr. Kwabena Nketia and the dance ethnologist Professor Albert Opoku. She examines the development of the internationally touring Ghana Dance Ensemble. She also explores her personal relationships with other African Americans and Ghanaians to further interrogate race and blackness from the point of view of living in West Africa. She reminisces about how her dance fieldwork in five regions of Ghana and her excursion to Togo and Nigeria broadened her perspective on herself as African American in Africa.

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Pinto, Samantha. "The Future in Black and White." In Black Cultural Production after Civil Rights, 139–64. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.003.0007.

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Focusing on Adrienne Kennedy's 1976 drama, A Movie Star Has to Star in Black and White, and Fran Ross's 1974 novel, Oreo, this essay argues for a radical reinterpretation of post-civil rights cultural and political legacies. Each author has been neglected in classrooms and criticism of the period, and in our stories about what constitutes paradigmatic black artistic practice of the time just beyond the height of the civil rights era. This essay renarrates this moment in African American literature, culture, and politics with these two authors at its center, marking the two texts as finding both danger and pleasure in popular performances of sexuality, gender, and race as they constitute a contemporary black feminist practice.

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Woolfork, Lisa. "Generations." In Black Cultural Production after Civil Rights, 51–71. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.003.0003.

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This essay explores the ways in which African American authors of that era reclaim the slave past as a site of memory for a nation eager to forget. Lucille Clifton’s Generations (1976), Alex Haley’s Roots (1976), Ishmael Reed’s Flight to Canada (1976), and Octavia Butler’s Kindred (1979) are the chapter’s main focus. These works resist the tide of historical amnesia and “lost cause” mythology that would minimize or relegate the enslaved to mere props in the larger Civil War drama of rupture and reconciliation. By centering the stories of the enslaved as ancestral foundations of post-civil rights black life, these authors promote a model for historical memory and genealogy that elevates black resilience.

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Тези доповідей конференцій з теми "American drama African American authors"

Agharid, Sarah, and Muhammad Fuad. "An African American Man in Police Procedural Drama: Black Masculinity Representation on Criminal Minds." In Proceedings of 3rd International Conference on Strategic and Global Studies, ICSGS 2019, 6-7 November 2019, Sari Pacific, Jakarta, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.6-11-2019.2297273.

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Carlini, Beatriz, Sharon Garrett, and Lexi Nims. "Are parents who use cannabis receptive to safe storage interventions and point-of-sale education?" In 2022 Annual Scientific Meeting of the Research Society on Marijuana. Research Society on Marijuana, 2022. http://dx.doi.org/10.26828/cannabis.2022.02.000.18.

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Purpose: The provision of cannabis storage devices paired with consumer prevention messages at point-of-sale has been considered by local health agencies to reduce youth access to cannabis in homes with adult cannabis consumers. This project sought to learn about current storage practices, interest in safe storage devices, and acceptability of youth prevention messages among adult consumers with youth at home. Methods: Potential participants responded to a Facebook advertisement and then completed an online survey which identified those who were over 21, used cannabis at least six times in the past six months, had children at home, lived in a target WA state county, and made at least one purchase from a cannabis store. Semi-structured interviews were conducted over Zoom, in May-June 2021. Participants responded to open-ended questions and reacted to existing prevention messages. Thematic analysis was performed by the three authors in two iterations; first initial themes were identified, and a coding framework was developed, then focused coding was conducted using this framework. Results: Sixteen parents ranging in age from 21-50 were interviewed. Most were women (14; 88%), 10 (63%) were White/Caucasian, 3 (19%) Black/African American, and 1 (1%) each Pacific Islander and White/Caucasian, Native American/American Indian, and Black/African American and White/Caucasian. Eleven had children between 2-10 y.o. and six between 11-17 y.o. in the home. Thirteen (81%) used cannabis daily, many for medicinal reasons. Parents described a wide range of storage practices and were supportive of receiving storage devices from retail stores. Health messages were well received when they were simple, depicted parents in a positive light, included relatable images, and emphasized edibles and that children may not know that products contain cannabis. Parents saw the importance of messages focused on brain development and the social consequences of teen use but were wary of messages that encouraged adult cannabis use to be hidden, that suggested that adults should communicate their disapproval of cannabis, or that described cannabis as addictive. Conclusions: Parents who use cannabis expressed concern for their kids and understood that cannabis use can negatively affect child development. While most were willing to store their cannabis out of reach of their children, cannabis was not viewed as being as harmful as other products that they consider a priority to store out of reach of children, such as opioids, alcohol, and guns. Content of health messages can easily be rejected if perceived as judgmental, stigmatizing, or untrue. Most parents trusted that open dialogues with their kids was the most effective prevention, and most were not willing to hide their own use.

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Johnson, Elizabeth. "The Rainbow Read-In: A Place to Build Community." In Kansas LGBTQ Symposium. Fort Hays State University, 2022. http://dx.doi.org/10.58809/uqns8487.

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The UMKC University Libraries held the second Rainbow Read-In (RRI) virtually in June 2022. Readers presented either their own works if they identify as LGBTQIA+ or works written by LGBTQIA+ authors. Nine participants presented and sixty people attended. Our first Rainbow Read-In included ten presenters and forty attendees in 2021. The goal of this presentation is to share how we created a safe space to showcase works from within the queer community. The objectives of this program are to discuss the origins of the RRI, the formation of the committee, lessons learned, short- and long-term goals, potential areas for improvement, and examples of the range of queer voices represented. New events usually take time to become established, but our event had a head start. UMKC University Libraries hosted the first African American Read-In (AARI) in 2009. As the co-chair of the AARI committee for six years and the creator of the RRI, this presentation will address how the AARI served as a foundation and inspiration for creating a safe and supportive environment for building community for the RRI. We created the transformative program that we wanted to attend. The initial success of this innovative event proves that, as a bunch of library nerds, if you build it, they will come.

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Звіти організацій з теми "American drama African American authors"

Berdan, Robert, Terrence Wiley, and Magaly Lavadenz. California Association for Bilingual Education (CABE) Position Statement on Ebonics. Center for Equity for English Learners, 1997. http://dx.doi.org/10.15365/ceel.statement.1997.1.

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In this position statement, the authors write in support of Ebonics (also known as African American Vernacular English, Black English, Black Dialect, and African American Language) as a legitimate language. The linguistic and cultural origins of Ebonics is traced, along with its legitimacy by professional organizations and the courts. CABE asserts that the role of schools and teachers is therefore to build on students’ knowledge of Ebonics rather than replace or eradicate Ebonics as they teach standard English. This position statement has implications for teacher training.

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