• Share
  • Email
  • Embed
  • Like
  • Save
  • Private Content








Total Views
Views on SlideShare
Embed Views



0 Embeds 0

No embeds


Upload Details

Uploaded via as Adobe PDF

Usage Rights

CC Attribution-NonCommercial-NoDerivs LicenseCC Attribution-NonCommercial-NoDerivs LicenseCC Attribution-NonCommercial-NoDerivs License

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
Post Comment
Edit your comment


    • June, 2010 A WORKING DEFINITION OF NEW AFRIKAN EDUCATION, CULTURAL DEVELOPMENT AND SOCIALIZATIONTutorial by Marc Imhotep Cray, M.D. / bna RBG Street Scholar Play Baba Del Jones (Nana Kutu)-The War Correspondent mp3- Definition of Culture RBG Blakademics reflects the cultural continuity and recurring spiritual and pedagogical themes of Afrikan peoples education and socialization across space and time; from ancient classic Nile Valley Civilizations to West Africa (from which we most directly come from) North, Central and East Africa and throughout the Diaspora, right on up to our present day experience here in the hells of north America. So the process does not put in as much as itdraws out what is already pre-existing in our mind and spirit(our collective ancestral unconscious).... Read Full StoryOPEN PLAYLISTPlay Dr. Amos Wilson mp3 — Histroy as an Instrument of Power 1
    • June, 2010 VIEW ICEBREAKER VIDEODr. Wade Nobles defines culture as “a process which gives peoplegeneral design for living and patterns for interpreting their reality” Its“aspects” he says are ideology, ethos and worldview; its factors areontology, cosmology and axiology; and its “manifestations” consistsof behavior, values and attitudes. [From Wade Nobles, Africanity andthe Black Family 1985, pg. 103}Culture is not one of life’s luxuries:it is life itself.“Culture” may be defined as “the integrated pattern of human knowledge, belief, andbehavior… language, ideas, beliefs, customs, taboos, codes, institutions, tools,techniques, works of art, rituals, ceremonies, and other related components…”(Encyclopaedia Britannica, 1989). At times,“culture” and “civilization” have been regarded as synonymous; at others,culture has been regarded as the end and civilization the means. In anthropologicalterms, culture encompasses a broad range of material objects, behavior patternsand thoughts. In western society, culture is commonly regarded as somethinghighbrow, a luxury rather than a necessity. Certain activities are deemed to constituteculture, while others are excluded. This RBG argues that a democratic culture wherethere is access, respect, coherence and/or relevance in the peoples interest is notluxury, but a basis for human and social development and New Afrikan peoples survival. 2
    • June, 2010Senegal‟s former president, the poet Léopold Sédar Senghor, once stated in aninterview: “At intellectual conferences in the Third World culture is made an instrumentfor politics, although Marx was of the opinion that politics should be the instrument forculture. To Marx the purpose of politics is to make man free in order to be able to„create works of beauty‟. Culture, not politics is the weave that keeps a society together.But industrialized countries in East and West do not accept the notion that cultures beequal although different. They do not take African culture and philosophy seriously aslong as we have no economic power.”“Is „culture‟ an aspect or a means of „development‟, the latter understood as materialprogress; or is „culture‟ the end and aim of „development‟, the latter understood as theflourishing of human existence in its several forms and as a whole?”These quotations reflect a longstanding and ongoing discussion of two viewpoints.These can, however, be combined without one overshadowing the other. They areinterdependent and nurture one another.On the one hand, the importance of culture is thought to lie in its function as a mediumof messages for educational or other social purposes. Here, the sharpness of theinstrument depends on the dedication, skills and depth of the conveyor.The other viewpoint emphasizes culture as a means of paving the way for creativity andshowing experience that can be neither measured nor weighed. The artist‟s imagination,or the world it builds, is a laboratory of the not-yet-experienced.In the words of John Gardner, the American novelist, “Art is as original and important asit is precisely because it does not start out with a clear knowledge of what it means tosay.”To stimulate our imagination and nourish our dreams, we seek art, literature, film, musicand theatre for a varied range of aesthetic experience. This applies to people all overthe world, of all social classes and ages, women and men alike. What we cannot dreamabout cannot be realized either.Culture helps us transgress limits, self-imposed or otherwise; to challenge ourselves;and to discover talents we were unaware of – talents that are valuable in every kind ofsituation in life. Without imagination and creativity, we are prisoners of the structuresand thoughts of others. 3
    • June, 2010Four aspects of the role of culture in development may be discerned. There is nocompetition between the four: rather, they empower one another.They are: 1. using culture to illustrate or clarify a medical, political, educational, agricultural or family problem = culture for development 2. strengthening the cultural sector = cultural development 3. the importance of analyzing the consequences of development cooperation on the culture of a country, community or group. 4. mainstreaming culture in all development work.West African traditional djembe music and cultureAn Authentic African Village in AmericaAT RBG CULTURE IS EDUCATION, AND EDUCATION IS CULTUREFrom: RBG Afrikan Center Thematic Overview-An Interactive Position Paper In NATIONBUILDING, Agyei Akoto has produced a volume that challenges all Afrikan people, particularly those of us in the United States, to confront with seriousness the responsibilities of educating for liberation, and the reality that the goal of liberation must be Nationhood. This book is a masterpiece of vision. More importantly, by writing candidly about the experience produced by 20 years of sustained kazi (work) within a collective of creative thinkers and doers, the author helps readers understand how the wisdom he reveals in NATIONBUILDING was developed. One appreciates, through Agyeis writing that nationbuilding is the process that gives us form and substance within humanity; it is through this process that we create and recreate the culture that defines our lives. RBG Street Scholars Think Tank in its content, methods and global level of participation is proving to be one of the most cutting edge digital academic demostrations online that has implemented Dr. Akoto‟s Nationhood- Afrikan Centered Curriculum Standards, with a from GED to Phd focus. 4
    • June, 2010It is of the utmost importance to know that family building isFundamental to nationbuilding.ReAfrikanization and personal development can only beaccomplished within the context of the family. We must not permitourselves to take this matter of relationships and familydevelopment lightly, nor unknowingly introduce elements of analien paradigm. Vigilance in this regard, with an ear for theguidance of the Abosom and Nsamanfo Nananom is Mandatory.from the book "Sankofa Movement: ReAfrikanization & the Realityof War" by Kwame Agyei Akoto and Akua Nson Akoto 5
    • June, 2010 African Culture and the Ongoing Quest for Excellence Dialog, Principles, Practice By Maulana Karenga, Ph.D. African Culture and the Ongoing Quest for Excellence Dialog, Principles, Practice by Maulana Karenga, Ph.D.The nearing of the next millennium unavoidably evokes concerns and calls for a criticalassessment of where we are and to what tasks we should direct our attention andefforts in our ongoing quest for a free and empowered community, a just and goodsociety and a better world. In our assessment we are of necessity directed toward thecontinuing struggle to free ourselves both socially and culturally. In fact, the twostruggles are unbreakably linked. For to free ourselves socially, we must build aconsciousness, cohesion and sense of specialness in community only culture can give.But to bring forth the best of our culture, we must struggle to clear social space for itsrecovery, reception and development. It is in this context that our organization Us (Us,African people) argued in the Sixties and continues to argue that the key challenge inBlack life is the cultural challenge. And this challenge is essential to break beyond theboundaries of the culture of the established order, recover, discover and bring forth thebest of our own culture, and effectively address the fundamental questions of our worldand our times. The task, as Us perceived it then and contends now, is to forge andembrace a culture that both prepares the people for the struggle and sustains them inthe process of the struggle for a world of human freedom and human flourishing. Thismeant then and continues to mean selecting and stressing elements of Black culturethat represent the best of African and human values, values which protect and promotehuman life, human freedom and maximum human development. It means alsorecreating liberation-supporti ve values, views and practices which were lost, damagedor transformed in the midst of oppression and creating new ways of seeing andapproaching the world that reinforce and raise up the people, support and sustain the 6
    • June, 2010struggle, and point toward the new world we struggle to bring into being. Key to thisprocess of cultural construction and reconstruction is the ongoing dialog with Africanculture. Kawaida, the philosophy of Us organization, defines this dialog as the constantpractice of asking questions and seeking answers from African culture to thefundamental and enduring concerns of the African and human community. At the heartof this project is the continuing quest to free ourselves, live full and meaningful lives andbecome the best of what it means to be both African and human in the fullest sense ofthe words. Moreover, it involves an ongoing search for models of excellence andpossibilities within our culture by which we speak our own special cultural truth to theworld and make our own unique contribution to the forward flow of human history. Totruly dialog with African culture means, first of all, using it as a resource rather than as amere reference. This is the meaning of posing questions and seeking answers withinAfrican culture concerning central issues of life and the world. To simply use Africanculture as a reference is to name things considered important, but never to use it toanswer questions, solve problems, or extract and shape paradigms of excellence andpossibility in thought and practice. To dialog with African culture, then, is to constantlyengage its texts, i.e., its oral, written, and living-practice texts, its paradigms, itsworldview and values, its understanding of itself and the world, in an ongoing search forever better answers to the fundamental questions and challenges of our time. We mustalways recognize and respect the fact that our culture comes with its own special way ofbeing human in the world and that this particular African way of being human in theworld provides a pathway to the universal. For it represents African peoples way ofengaging the fundamental concerns of humankind. Furthermore, our culture hasevolved in the longest of histories and thus has amassed a rich and varied array ofancient and modern knowledge, understanding, and wisdom concerning the world. Oursis a history of struggle, creativity, achievement, and constant concern for the right, thejust, and the good. It is a history of ancient wonder and achievement in the Nile Valley,awesome tragedy and destruction in the Holocaust of Enslavement, and impressivetriumph in our constant struggle against overwhelming societal odds against us inmodern times. And ours is a history of an ongoing commitment to raise up the goodeven in the midst of the most horrific evil and to pursue the possible in spite of thecatechism of impossibilities repeatedly offered us. 7
    • June, 2010Seven Core Areas of Culture It is within the context of this rich and most ancient of histories and cultures that we must constantly search for and bring forth the best of what it means to be African and pose new paradigms of human excellence and possibility. This ongoing search for solutions and models of human excellence and possibilities must occur, Kawaida contends, in every area of human life but especially in the seven core areas of culture: history; religion (spirituality and ethics); social organization; economic organization; political organization; creative production (art, music, literature, dance, etc.) and ethos, the collective self-consciousness achieved as aresult of activity in the other six areas.History In the area of history, Us maintains, we must study history to learn its lessons,absorb its spirit of possibility, extract and emulate its models of excellence andpossibility and honor the moral obligation to remember. We must measure ourselves inthe mirror of the best of our history and constantly ask ourselves how can we use thepast as a foundation to inform, expand and enrich our present and future. We mustalways be conscious of our identity as the fathers and mothers of humanity and humancivilization in the Nile Valley, the sons and daughters of the Holocaust of Enslavementand the authors and heirs of the Reaffirmation of our Africanness and social justicetradition in the Sixties. Surely this is a challenge for intellectual, social and moralexcellence, active opposition to all forms of enslavement, and an enduring commitmentto cultural rootedness, justice, and good in the world.Religion (Spirituality and Ethics) In the area of religion (spirituality and ethics),our culture has the most ancient of ethical traditions, the oldest ethical, spiritual andsocial justice texts. We introduced the concept of human dignity and the divine image ofthe human person as early as 2140 BCE (before the common era) in the Sacred Husia,in the Book of Kheti. We are the ones who spoke to the world in the earliest of timessaying, "speak truth, do justice, care for the vulnerable, give food to the hungry, water tothe thirsty, clothes to the naked and a boat to those without one, care for the ill, be astaff of support for those of old age, a father to the orphan, a mother to the timid, a raftfor the drowning and a ladder for those trapped in the pit of despair, honor the eldersand ancestors, cherish and challenge the children, maintain a right relation with theenvironment and always raise up the good and pursue the possible." This is a traditionwe must neither ignore nor abandon. 8
    • June, 2010Social Organization Our social organization must be constantly concerned withvalues and practice that affirm and strengthen family, community, and culture. Certainly,the Nguzo Saba, the Seven Principles of Kawaida, which under gird Kwanzaa,independent schools and rights of passage, family maintenance, school retention andnumerous other community development and action programs are key to this. They are:Umoja (Unity); Kujichagulia (Self-Determination ); Ujima (Collective Work andResponsibility) ; Ujamaa (Cooperative Economics); Nia (Purpose); Kuumba (Creativity) ;and Imani (Faith). It is within this framework of communitarian values that we build apeaceful and harmonious togetherness; respect our special way of being human in theworld; build together in responsibility the relationships, family, community, society andworld we want to live in; share work and wealth; accept the collective vocation ofstruggle for freedom, justice, peace and human flourishing in the world; constantlyrepair and restore the world, making it ever more beautiful and beneficial and maintainour faith in the right and the good by working and struggling to define, defend, anddevelop them in the world.Economic Organization In the area of economics, our culture teaches us theprinciple of Ujamaa which in its most expansive sense means shared work and wealthrooted in a profound sense of kinship with other humans and the environment. Itteaches us to be constantly concerned in our economic practice with the dignity of thehuman person, with the well-being of family and community, the integrity of theenvironment, and especially with the vulnerable among us: the poor, the ill, the aged,the captive, the disabled, the refugee and the stranger. For ours is a consciousnessborn not only of ancient ethical teaching but also of the historical experience of thevulnerability of the "motherless child, a long ways from home" as expressed in oursacred songs.Political Organization Our culture teaches us to view politics as a collectivevocation to create a just and good society and advance human good in the world. Itcalls us to honor our most ancient social justice tradition that, as I noted in the MillionMan March/Day of Absence Mission Statement, "requires respect for the dignity andrights of the human person, economic justice, meaningful political participation, sharedpower, cultural integrity, mutual respect for all peoples, and an uncompromisingresistance to social forces and structures which deny or limit these."Creative Production The best of African culture insists that our creative productionor art not only be technically sound but also socially purposeful and responsible. It is atits best functional, collective and committing. To be functional is to self-consciouslyhave and urge social purpose, to inform, instruct and inspire the people and be anaesthetic translation of our will and struggle for liberation and ever higher levels of life. Italso means searching for and creating new forms and styles to speak our truth andpossibilities. To be collective, Black art must be done for all, drawn and synthesizedfrom all, and rooted in a life-based language and imagery rich in everyday relevance. Itmust be understandable without being vulgarly simplistic, i.e., so pedestrian and 9
    • June, 2010impoverished that it damages art as a discipline and the social message it attempts toadvance. And it must celebrate not only the transcendent and awesome but also theordinary, teaching the beauty and sacredness of everyday people and their struggles tolive full, decent, and meaningful lives. Finally, Black art must be committing, i.e., notsimply inform and inspire Blacks, but also commit them to the historical project ofliberation and a higher level of human life. To do this, it must demand and urge willingand conscious involvement in struggle and building of a new world and new men,women and children to inhabit it. And it must move beyond protest and teachpossibilities, beyond victimization and teach Blacks to dare victory. The best of theBlack aesthetic teaches that art, then, must commit us to what we can become and arebecoming and inspire us to dare the positive in a world often defined and deformed bythe negative.Ethos Finally, our culture provides us with an ethos we must honor in both thought andpractice. By ethos, we mean a peoples self-understanding as well as its self-presentation in the world through its thought and practice in the other six areas ofculture. This cultural self-understanding and self-presentation are best summed up inthe conclusion I posed in the MMM/DOA Mission Statement. The challenge I posedthere is the one I pose here as we move forward toward the next millennium. It is aboveall a cultural challenge. For culture is here defined as the totality of thought and practiceby which a people creates itself, celebrates, sustains and develops itself and introducesitself to history and humanity. And so the challenge of our culture is to come to the tasksbefore us, "bringing the most central views and values of our faith communities, ourdeepest commitments to our social justice tradition and the struggle it requires, the mostinstructive lessons of our history, and a profoundly urgent sense of the need for positiveand productive action. In standing up and assuming responsibility in a new, renewedand expanded sense, we honor our ancestors, enrich our lives and give promise to ourdescendants. Moreover, through this historic work and struggle we strive to alwaysknow and introduce ourselves to history and humanity as a people who are spirituallyand ethically grounded; who speak truth, do justice, respect our ancestors and elders,cherish, support and challenge our children, care for the vulnerable, relate rightfully tothe environment, struggle for what is right and resist what is wrong, honor our past,willingly engage our present and self-consciously plan for and welcome our future. DR. MAULANA KARENGA is chairman of The Organization Us and The National Association ofKawaida Organizations. He is also professor and chair of the Department of Black Studies at CaliforniaState University, Long Beach; Dr. Karenga is also the creator of Kwanzaa and the Nguzo Saba andauthor of numerous scholarly articles and books including, Kwanzaa: A Celebration of Family, Communityand Culture, Kawaida Theory: A Communitarian African Philosophy; and Selections From The Husia:Sacred Wisdom of Ancient Egypt. Moreover, he was a member of the Executive Council of the MillionMan March/Day of Absence and author of the MMM/DOA Mission Statement. 10
    • June, 2010Website Library / BiographyRIGHT CLICK OVER LINKS>OPEN IN NEW TAB> TO MAINTAIN THIS PAGE ABA Commission on the 50th Anniversary of Brown v. Board of Education Abraham Lincoln Historical Digitization Project (Northern Illinois U) An African American Album, Vol. 2. (Public Library of Charlotte and Mecklenburg County, NC) African American Cemeteries in Albemarle and Amherst Counties (U Viginia) The African American Experience in Ohio, 1850-1920 (LC) African American History (Images from the Maryland Historical Society) African American History: 17 Collections (LC) o African American Perspectives: Pamphlets from the Daniel A. P. Murray Collection, 1818-1907 o The African-American Experience in Ohio: Selections from the Ohio Historical Society o From Slavery to Freedom: The African-American Pamphlet Collection, 1824-1909 o African-American Sheet Music, 1850-1920: Selected from the Collections of Brown University o African American Odyssey o By Popular Demand: Jackie Robinson and Other Baseball Highlights, 1860s-1960s o An American Time Capsule: Three Centuries of Broadsides and Other Printed Ephemera o The Frederick Douglass Papers at the Library of Congress o The Zora Neale Hurston Plays at the Library of Congress o Maps of Liberia, 1830-1870 o Words and Deeds in American History: Selected Documents Celebrating the Manuscript Divisions First 100 Years o The Nineteenth Century in Print: Books o Voices from the Days of Slavery: Former Slaves Tell Their Stories o Born in Slavery: Slave Narratives from the Federal Writers Project, 1936-1938 o Slaves and the Courts, 1740-1860 o The Church in the Southern Black Community, 1780-1925 o First-Person Narratives of the American South, 1860-1920 African American Images (Harvard U) African American Images, Beauchamp Branch Library in Syracuse, New ... (Syracuse U) African American Lumbermen: Their Homes and Families, ca.1908 (Stephen F. Austin State University) The African American Migration Experience, In Motion (Schomburg, NYPL) The African American Mosaic (LC) African American Odyssey: The Quest for Full Citizenship (LC) The Frederick Douglass Papers at the Library of Congress Jackie Robinson and Other Baseball Highlights, 1860s-1960s Born in Slavery: Slave Narratives from the Federal Writers Project... From Slavery to Freedom: The African-American Pamphlet Collection, ... Slaves and the Courts, 1740-1860 African American Pamphlet Collection: 1824-1909 (LC) African American Perspectives: Pamphlets from the Adniel A.P. Murra... (LC) African American Portraits by Carl Van Vechten, 1932-1964 (Brandeis U) African American Sheet Music, 1850-1920: Selected from the Collecti... (LC) African American Studies Digital Collection (Yale U) 11
    • June, 2010African American Subjects (NYPL)African American Women (Middle Tennessee State U)African American Women On-line Archival Collections (Duke U)African American Women Writers of the 19th Century (Schomburg, NYPL)African Americans and the End of Slavery in MassachusettsAfrican Americans in the Columbia River Basin (Washington State U)African Americans in the Harmon Foundation Collection (Smithsonian)www.vcdh.virginia.edu/afam/civilwar.html">African Americans in the Jim Crow South (UVirginia)African Americans - Biography, Autobiography and History (Yale Law School)African Burial Ground (Schomburg, NYPL)African Presence in the Americas (Schomburg, NYPL)Africana Heritage Project (U South Florida)Afro-Louisiana History and GenealogyAmerican Life Histories, Manuscripts from the Federal Writers Proj... (LC)American Slave Narratives: An Online Anthology (U Virginia)Amistad Trial SiteArchie Givens African American Literature Collection (U Minnesota)Atlantic Slave Trade and Slave Life in America: A Visual RecordBeyond Face Value: Depictions of Slavery in Confederate CurrencyThe Barrett Daycare Center, 1935-Present (U Virginia)Black Abolitionist Archive (U Detroit Mercy)Black Archives of AmericaBlack Oral History Interviews (Washington State U)BlackPast.orgBlack Panther Party Sound Recording ProjectThe Blues, Black Vaudeville and the Silver Screen, 1912-1930sBooker T. Washington PapersBorn in Slavery: Slave Narratives from the Federal Writers Project...Brown Before and After (VSU Library)Brown University Steering Committee on Slavery & JusticeBrown vs. the Board of Education Digital Archive (U Michigan)The California Underground RailroadThe Church in the Southern Black CommunityCivil Rights Oral History Interviews (Washington State U)Civil Rights Documentation ProjectCivil Rights in Mississippi Digital ArchiveCivil Rights Special CollectionCivil War Soldiers and Sailors (CWSS)Crossroads to FreedomDeath or Liberty ExhibitionDuluth Lynchings Online ResourcesDiary of a ContrabandDigital Schomburg: Images of African Americans from the 19th Century (Schomburg,NYPL)Digitized Collections (Fayetteville State University, NC)Documenting the American South (U NC)The Dred Scott CaseElizabeth Johnson Harris: Life Story (Duke U)Emancipation Proclamation (National Archives)Exploring Amistad at Mystic SeaportFaces and Voices: An Anthology of Verse and Prose (Howard U)Faces of Science: African Americans in the Sciences (Princeton U)The FBI Freedom of Information Act Electronic Reading RoomFilms of Marlon Riggs (CA Digital Library)First-Person Narratives of the American South, 1860-1920 (LC) 12
    • June, 2010Florida Folklife from the WPA Collections, 1937-1942 (LC)The Frederick Douglass PapersThe Free People of Color of New Orleans: Les Gens de Couleur LibresFreedoms JournalFreedom NowFrom Slavery to Freedom: The African-American Pamphlet Collection, ... (LC)Geography of Slavery in VirginiaGlobal Mappings: Arthur Alfonso Schomburg (Schomburg, NYPL)Hannah Valentine and Lethe Jackson: Slave Letters (Duke U)Harlem 1900-1940: Schomburg Exhibit Arturo Schomburg (Schomburg, NYPL)Harlem HistoryHistorical African-American Autographs from the Ramos Collection, K... (Kansas City PL)Historical Publications of the United States Civil Rights CommissionHistorical Text Archive: African AmericanHistorically Black College & University, Digital CollectionHoward UniversityAfroBlueAmerican Art from the Howard University CollectionCovington, Charles (Pianist)Faculty Authors PostersCharlotte Wesley Holloman, SopranoHoward University Jazz EnsembleHUStreamJackson, Raymond (Pianist)Jones, Lois Mailou, 1905-1998JourneysKaren Walwyn (Pianist)Legacy: Treasures of Black HistoryA Proud Continuum: Eight Decades of Art at Howard UniversitySnowden, Jr., Frank M.Vignettes from the Writing WorkshopImages of African Americans in the 19th Century (Schomburg, NYPL)Images of the American Civil War: African AmericansJackson Davis Collection of African American Educational Photographs (U Virginia)Jim Crow Museum of Racist MemorabiliaJump, Jim Crow; or, What Difference Did Emancipation Make?Land of (Unequal) OpportunityLest We Forget: The Triumph Over Slavery (Schomburg, NYPL)Louis Armstrong Jazz Oral History Project, Selected Clips (Schomburg, NYPL)Marian Anderson Collections, University of Pennsylvania (U Pennsylvania)Malcolm X: A Search for Truth (Schomburg, NYPL)Marcus Garvey & UNIA Papers ProjectMartin Luther King, Jr. ProjectMLK Newspaper ArchiveMilburn (Mississippi Burning) InvestigationMonticello Plantation DatabaseNorth American Slave NarrativesNow What a Time: Blues, Gospel, and the Fort Valley Music Festivals...Oral Histories of the American South - Civil RightsPapers of Justice Tom C. ClarkPhotographs of the 369th Infantry and African Americans during Worl...Powerful Days: The Civil Rights Photography of Charles MooreProffit Historic District Online Resource Archive (U Virginia)www.vcdh.virginia.edu/afam/civilwar.html">Race and Place: African Americans in the JimCrow South (U Virginia)Roanoke Island Freedmens Colony 13
    • June, 2010 Samuel J. May Anti-Slavery Collection The Schomburg Legacy: Documenting the Global Black Experience for t... (Schomburg, NYPL) Seattle Civil Rights and Labor History Project Slave Movement during the Eighteenth and Nineteenth Centuries Slaves and the Courts Social Activism Sound Recording Project: The Black Panther Party (CA Digital Library) Sovereignty Commission Online Still Going On: An Exhibit Celebrating the Life and Times of Willia... (Duke U) Storming the Gates of Knowledge: A Documentary History of Desegrega... (U Viginia) Tangled Roots Television News of the Civil Rights Era 1950-1970 Third Person, First Person: Slave Voices from the Special Collectio... (Duke U) Trials of the Scottsboro Boys The Truman Administration and the Desegregation of the Armed Forces Uncle Toms Cabin and American Culture: a Multimedia Archive (U Virginia) The Valley of the Shadow: Two Communities in the American Civil War (U Virginia) Vilet Lester Letter (Duke U) Virginia Emigrants to Liberia Voices from the Gaps: Women Writers of Color W.E.B. Du Bois Virtual University We Shall Overcome: Historic Places of the Civil Rights Movement Without Sanctuary See also: African American Digital Collections ( Google Search) Africana Studies: Digital Historical Documents (Vassar College) Web Resources on African American Writers and LiteratureTutorial by Marc Imhotep Cray, M.D. / bna RBG Street Scholar 14