Arthur Alfonso Schomburg was a Puerto Rican historian who collected literature, art and artifacts relating to African history. He was inspired as a student to disprove that blacks had no history or accomplishments. Over his career he amassed a large collection that was purchased by the NY Public Library to form the Schomburg Center for Research in Black Culture. Schomburg was an important figure of the Harlem Renaissance who advocated for recognizing contributions of African peoples and the diaspora.
Charles White's 1953 drawing Harvest Talk depicts two rural farmworkers sharpening a scythe during the fall harvest. White uses charcoal and other drawing materials to meticulously render the figures and landscape. Through his technical skill and symbolic portrayal of ordinary workers, White aims to make a universal statement about human dignity and the history of black people in America. The drawing represents White's mature style from the 1950s, when he shifted his focus from historical black leaders to everyday people in an effort to reach wider audiences with his message of social justice and racial pride.
Introduction to Anglo-American Literature Grade 9 studentsGelineBasada
This document provides an overview of Anglo-American literature from its origins in Old English to the present day. It divides the literature into historical periods for both British and American works. The periods correspond to different cultural influences and notable authors. Some of the major periods discussed include the Renaissance, Romantic, Victorian, and Modern eras in Britain and the Colonial, Revolutionary, and Modernist periods in America. Key authors and works are highlighted for each period to show the evolution of literary styles over time under the influence of political, social, and technological changes on both sides of the Atlantic.
Oefening in dagelijks evalueren en het vasthouden en uitbouwen van positieve gebeurtenissen.
Hoe ging het vandaag met je marketing? Wat ging er goed, waar ben je blij mee?
Heb je vragen? Heb je iets nodig? Heb je inspiratie opgedaan?
Loes Vork, Vork Communicatie, loes@vorkcommunicatie.nl (0182) 522192
Charles White's 1953 drawing Harvest Talk depicts two rural farmworkers sharpening a scythe during the fall harvest. White uses charcoal and other drawing materials to meticulously render the figures and landscape. Through his technical skill and symbolic portrayal of ordinary workers, White aims to make a universal statement about human dignity and the history of black people in America. The drawing represents White's mature style from the 1950s, when he shifted his focus from historical black leaders to everyday people in an effort to reach wider audiences with his message of social justice and racial pride.
Introduction to Anglo-American Literature Grade 9 studentsGelineBasada
This document provides an overview of Anglo-American literature from its origins in Old English to the present day. It divides the literature into historical periods for both British and American works. The periods correspond to different cultural influences and notable authors. Some of the major periods discussed include the Renaissance, Romantic, Victorian, and Modern eras in Britain and the Colonial, Revolutionary, and Modernist periods in America. Key authors and works are highlighted for each period to show the evolution of literary styles over time under the influence of political, social, and technological changes on both sides of the Atlantic.
Oefening in dagelijks evalueren en het vasthouden en uitbouwen van positieve gebeurtenissen.
Hoe ging het vandaag met je marketing? Wat ging er goed, waar ben je blij mee?
Heb je vragen? Heb je iets nodig? Heb je inspiratie opgedaan?
Loes Vork, Vork Communicatie, loes@vorkcommunicatie.nl (0182) 522192
Africans at the Crossroads: African World Revolution-Dr. John Henrik Clarke RBG Communiversity
The document provides biographical information about Dr. John Henrik Clarke, a prominent historian known for his work highlighting the role and achievements of Africans and African Americans in history. It details how Clarke's early experiences noticing the exclusion of Africans from biblical stories and lessons led him to embark on a lifelong search to uncover the true history of African peoples around the world. Through extensive research across multiple continents, Clarke found that early civilizations and advancements originated in Africa. He shared his findings in numerous books and lectures. The document also discusses Clarke being honored with libraries and collections named after him in recognition of his contributions to the field of Africans and African American studies.
John Henrik Clarke: the Harlem connection to the founding of Africana Studies...RBG Communiversity
This document provides a summary of John Henrik Clarke's intellectual development and role in founding Africana Studies. It describes how Clarke was self-educated in Harlem in the 1930s-1940s, learning from influential figures like Arthur Schomburg. It outlines Clarke's career path from the 1950s-1960s, when he developed Africana curriculum models and helped form the African Heritage Studies Association. The document analyzes Clarke as one of the last self-educated intellectuals of African descent, continuing a tradition of self-education. It examines how Clarke built upon the foundations laid by Schomburg and others to establish Africana Studies as an academic discipline.
CommentaryMotivated by politics, a group of African-American au.docxpickersgillkayne
Commentary:
Motivated by politics, a group of African-American authors became known as the
Black Arts Movement
. Preeminent in this movement was the poet Imamu Amiri Baraka. The movement stemmed from the strife following the assassination of Malcom X in 1965, and then the assassination of Dr. Martin Luther King, Jr. in 1968. Those involved in the changes spreading across America, known as Black Nationalism or the
Black Power Movement
, broke into two primary branches--Revolutionary Nationalists, which included such groups as the Black Panther Party, and Cultural Nationalists, which includes the Black Arts Movement.
The expression of the Black Power Movement was evident in several ways: changes in clothing styles (dashikis, for example) adopted among several black groups, more vocal involvement in politics, and more outspoken tones in and topics of writing, speeches, and the plastic arts (sculpture and painting).
Though the Black Arts Movement began in Harlem, it quickly spread to many cities around the country. Numerous African-American magazines, publishing houses, and journals flourished during this time, such as
Negro Digest, Black World
, Third World Press,
The Black Scholar
, and Lotus Press, among others. Poetry was the predominant form of writing within this movement, but not exclusively--short stories, drama, essay, plays, and music were also key to the content of this era.
The Black Arts Movement was not without controversy. The content of its works is often cited as homophobic, exclusive, misogynistic, and anti-Semitic in favor of black identity.
The Black Arts Movement’s influence began to fade as the result of an unlikely source--success. As members such as James Baldwin, Maya Angelou, and Nikki Giovanni, among others, became popular and even wealthy as the result of the works they also became mainstream, which was an unforeseen consequence counter to the basis of the movement itself.
Recovering the History of African Americans
Attempts to recover and recognize the history of African Americans was part of the Black Power Movement. This is seen in African Americans who changed their birth names to African names. Born as Leroi Jones, Amiri Baraka, for example, changed his name in 1964. Stokely Carmichael became Kwame Ture. In Alice Walker's short story "Everyday Use," Dee returns home with the name Wangero.
Attitudes and actions that before the 1960s might have been kept private became more overt, which is evident in the essays defining the Black Arts Movement. Richard Wright's comments about African-American writers in his 1937 essay "Blueprint for Negro Writing" were no longer true. In that essay, Wright discussed black writers who "dressed in the knee-pants of servility" as they went "abegging to white America" for approval. He notes, "Negro writing was something external to the lives of educated Negroes themselves."
Instead, the arts in the 1960s were more aligned with what Du Bois wrote in 1926, when he call.
The Harlem Renaissance was an important cultural movement in the 1920s-1930s that allowed African American art, music, and literature to flourish. It gave black artists and intellectuals an opportunity to express themselves and be heard by both black and white audiences. Key figures like W.E.B. Du Bois and Marcus Garvey helped establish organizations that advocated for civil rights and black empowerment. The Harlem Renaissance inspired pride in African American culture and helped legitimize black artistic expression through mediums such as jazz, poetry, novels, and visual art.
The Chicago Renaissance turn of 20th c.-1960s(ish)a ga.docxmamanda2
The Chicago Renaissance: turn of 20th c.-1960s(ish)
“a gathering of writers, a flowering of institutions that supported and guided them, and the outpouring of writing they produced”
http://www.encyclopedia.chicagohistory.org/pages/257.html
*
Chicago in the 1890s—Setting the Stage for the Renaissance
*
Historical significance of the World's Columbian Exposition
The second half of the 19th century was an age of fairs and expositions held in London, Paris, and other great cities throughout the world. The World's Columbian Exposition, held in Chicago in 1893, was the first critically and economically successful U.S. world's fair. Conceived as a celebration of the 400th anniversary of Columbus' landing in the new world, the Exposition held a near-mythological appeal for people of the time.
The Columbian Exposition showcased a city just 60 years old, a city magnificently reborn just 22 years after the Chicago Fire. It also placed before the world the genius of Chicago architects Daniel Burnham, Frederick Law Olmsted, and Louis Sullivan. In effect, the Columbian Exposition was Chicago's debut on a world stage as a locus of great architecture and burgeoning economic power.
http://columbus.gl.iit.edu/index.html
*
"The exterior of the gigantic bubble of glass and iron that rises over the central pavilion of Horticultural Hall has already been shown in these plates, and here we are admitted into the luxurious tropical garden that flourishes in the interior. Here in a great space of light and air may be seen a miniature mountain covered with strange foliage and with a little stream dashing down its sides, great tubs of palms and tree ferns, bamboos, century plants, "elk horns," a miniature Japanese garden, bridges and all, and shady, inviting nooks, in which the tourisht may find picturesque rest - much as the painter has here shown." Art & Architecture (the White City Edition)
*
The Chicago Defender, 1905
The Chicago Defender, which was founded by Robert S. Abbott on May 5, 1905, once heralded itself as "The World's Greatest Weekly." The newspaper was the nation's most influential black weekly newspaper by the advent of World War I, with more than two thirds of its readership base located outside of Chicago.
As a northern paper, The Defender had more freedom to denounce issues outright, and its editorial position was very militant, attacking racial inequities head-on. The Defender did not use the words "Negro" or "black" in its pages. Instead, African Americans were referred to as "the Race" and black men and women as "Race men and Race women.“
During World War I The Chicago Defender waged its most aggressive (and successful) campaign in support of "The Great Migration" movement. This movement resulted in over one and a half million southern blacks migrating to the North between 1915-1925.
*
,
Richard Wright, born 1908
Native Son, 1940
Black Boy, 1945
*
Harriet Monroe and Poetry, 1912
The word "Imagiste" a.
The document provides an overview of the authors and readings for week 3, which focus on exclusion from the American Dream. It discusses Native American, African American, and post-colonial literature. For the Native American section, it introduces Tecumseh, Zitkala-Sa, and Sherman Alexie and their works dealing with resistance to colonization and navigating between cultures. For African American literature, it discusses themes of oppression and reclaiming identity in the works of Harriet Jacobs, Frederick Douglass, and Ralph Ellison.
This document discusses the history of subaltern studies and voices from marginalized groups being included in historical accounts. It outlines how scholars have increasingly studied history "from below" to document the perspectives and protests of ordinary and oppressed people. Subaltern Studies began in the late 1970s as conversations between historians led to a journal and book series that brought attention to the subjugated voices that had long been excluded from mainstream historical narratives. The field has grown significantly since then in terms of publications, authors, and international influence across academic disciplines.
Media Popular Culture, and the American CenturyKate Doronina
Edited by Kingsley Bolton and Jan Olsson,
Sweden, 2010
Introduction: Mediated America: Americana as Hollywoodiana
Part 1: Cinema and Americanization
Part 2: Americans at the Margins
Part 3: American Dreams/American Nightmares
Part 4: America Goes Digital
The document provides an overview of literature related to slavery and freedom in the United States. It discusses early slave narratives written by former slaves like Frederick Douglass and Harriet Jacobs that described the inhumane conditions of slavery. These narratives were an important form of resistance that challenged pro-slavery ideologies and influenced the abolitionist movement. The document also examines how early African American writers used Christian themes to connect the ideals of the Declaration of Independence with the fight for racial equality and an end to the hypocrisy of slavery.
This document provides an overview of Commonwealth literature, including its definition, history, major themes, and writers. It discusses how Commonwealth literature emerged after countries gained independence from Britain but still recognized the British monarch. While it grew in popularity, it also faced criticisms for not being truly international or inclusive of non-English literatures. These shortcomings ultimately led to the development and popularity of postcolonial literature as a separate field of study.
African Americans And An Atlantic World Culture. (2005)Sophia Diaz
This document provides an overview of the field of Atlantic World history and its relationship to African diaspora studies. It discusses how the emergence of the Atlantic World beginning in the 15th century set in motion large-scale migrations of Africans through the transatlantic slave trade. It also notes that while the Atlantic World and African diaspora concepts have different geographical scopes, both approaches now recognize Africans as active agents rather than just victims of historical forces. The document uses several sources to illustrate how perspectives on Africans' roles have changed from earlier Eurocentric works to current scholarship that emphasizes Africans' agency within the Atlantic World.
This document provides an overview of American modernism between 1910-1945. It discusses how modernism in literature emerged in response to industrialization and the rise of big business in the late 19th/early 20th century. Major modernist authors like T.S. Eliot and Ezra Pound rejected cultural traditions and sought new influences. The 1913 Armory Show in New York introduced Americans to modern art like Picasso and Kandinsky. Modernist works were fragmented and difficult to access initially. World War I furthered the disillusionment of the modern era through new technologies of destruction.
The Genesis of Pan-Africanism: A Historical PerspectiveAJHSSR Journal
ABSTRACT: Pan-Africanism is a movement to secure human rights, self-government, independence, and unity
for all African peoples. The spirit of solidarity and collaboration among African societies is ages old, fading and
flourishing from one century to the next. Pan-Africanism emerged once again at the end of the eighteenth century
as an anti-slavery and anti-colonial movement. Its appeal was both indigenous and international. Africans saw
their land invaded by European powers, a scenario that sparked resistance. The African struggle for freedom
coincided with anti-slavery sentiments in Europe and America, among other regions. In its original form, PanAfricanism had a wider scope than the geographic continent. It encompassed the African diaspora and descendants
worldwide. Seeking to unify the African people into a single community, Pan-Africanism grew and changed over
time, each century adding to its richness and passing on its legacy to the next. An ethnic, economic, political, and
social mosaic, Africa has struggled with an ambition for a united continent while at the same time being conscious
of the deep divisions within her borders. Along with the vision of oneness are the conflicting demands by Africa’s
sovereign states and regions, involving a mix of stakeholders—policymakers, national legislatures, and citizens
of independent countries. Still, for all its twists and turns, the movement embodies a vision of Africa liberated and
united, right up to the present day.
The Harlem Renaissance was a cultural movement in the 1920s centered in Harlem, New York that celebrated African American culture and identity. Key figures like Langston Hughes, Alain Locke, and W.E.B. Du Bois promoted the idea of the "New Negro" who took pride in their African heritage and demanded equal treatment. During this period, Harlem became a center of African American artistic, social, and intellectual life that produced many influential black writers, musicians, poets, and thinkers. The Harlem Renaissance helped establish modern African American literature and cultural traditions.
The Harlem Renaissance began in the 1920s as African Americans migrated north to Harlem, New York after World War I, seeking jobs and escape from oppression in the south. This migration transformed Harlem into the center of African American culture and intellectual life. Writers, artists, musicians, and thinkers celebrated black identity and creativity through literature, visual art, dance, and music. The Harlem Renaissance had a significant impact on challenging racism and establishing African American arts and literature.
The document discusses the history and definitions of multiculturalism and cultural studies in America. It notes that cultural studies draws from fields like Marxism, feminism, and postcolonial studies. The text specifically examines American multiculturalism, which arose from civil rights movements in the 1960s. It also discusses African American literature, which began with slave narratives and has gained widespread recognition since the 1970s, as well as Native American oral traditions and contemporary literature written in English.
The document discusses how the poems of Wilfred Owen and Jane Weir both depict suffering in similar ways through their portrayal of the damaging effects of war, though each poet uses their own individual style and perspective to convey their message. Both poems ask questions to make the reader think critically and employ literary techniques to emphasize important elements, with Owen writing from the viewpoint of a soldier and Weir focusing on one affected individual.
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A Companion to African American Literature.pdfCassie Romero
This document provides an overview of A Companion to African American Literature, a reference work edited by Gene Andrew Jarrett. The companion offers new perspectives on the historical, social, and literary contexts of African American literature from the 18th century to present day. It features chapters from leading scholars that provide both introductory overviews for students as well as advanced analyses for more experienced readers. The companion aims to orient new students and provide current scholars with innovative approaches to studying African American literary culture and canonical/post-canonical texts.
Dr. Clarke In His Own Words_ African Education At the Crossroads. RBG Communiversity
This document provides an autobiographical account from Dr. John Henrik Clarke reflecting on his life and work as an historian, author, and activist. Some key points:
- Clarke was born in 1915 in Alabama and grew up in a sharecropping family, working various jobs from a young age to support himself and his education.
- He had a passion for history from a young age and left the South to pursue further education and a career focused on researching and teaching African history.
- Throughout his life, Clarke authored hundreds of works on African history and the African diaspora. He also founded or helped establish numerous organizations focused on African and African American studies.
- Clarke dedicated his career to
Political Report to the 7th Congress of the African People's Socialist Party USARBG Communiversity
The document is the political report from the chairman of the African People's Socialist Party to the party's Seventh Congress. It discusses the party's role as the vanguard and advanced detachment of the African revolution. It provides the party's history and achievements over its 45+ year existence. It emphasizes the party's goal of seizing state power in Africa to liberate the continent from imperialism and establish socialism under the leadership of the African working class.
Dr. Amos N. Wilson_The Battle Must Be Joined | A Revolutionary PoemRBG Communiversity
This document calls for joining the battle against racism through direct action and confrontation. It states that true change requires risking defeat, fighting "hand to hand" through institutions and traditions, and creating a new world order through rebuilding and restoring what has been destroyed. The battle must be fought through the mind, spirit, will, money, technology, and physical confrontation if needed. Ultimately, change depends on ordinary people taking up the challenge and making this new world their own.
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The document provides biographical information about Dr. John Henrik Clarke, a prominent historian known for his work highlighting the role and achievements of Africans and African Americans in history. It details how Clarke's early experiences noticing the exclusion of Africans from biblical stories and lessons led him to embark on a lifelong search to uncover the true history of African peoples around the world. Through extensive research across multiple continents, Clarke found that early civilizations and advancements originated in Africa. He shared his findings in numerous books and lectures. The document also discusses Clarke being honored with libraries and collections named after him in recognition of his contributions to the field of Africans and African American studies.
John Henrik Clarke: the Harlem connection to the founding of Africana Studies...RBG Communiversity
This document provides a summary of John Henrik Clarke's intellectual development and role in founding Africana Studies. It describes how Clarke was self-educated in Harlem in the 1930s-1940s, learning from influential figures like Arthur Schomburg. It outlines Clarke's career path from the 1950s-1960s, when he developed Africana curriculum models and helped form the African Heritage Studies Association. The document analyzes Clarke as one of the last self-educated intellectuals of African descent, continuing a tradition of self-education. It examines how Clarke built upon the foundations laid by Schomburg and others to establish Africana Studies as an academic discipline.
CommentaryMotivated by politics, a group of African-American au.docxpickersgillkayne
Commentary:
Motivated by politics, a group of African-American authors became known as the
Black Arts Movement
. Preeminent in this movement was the poet Imamu Amiri Baraka. The movement stemmed from the strife following the assassination of Malcom X in 1965, and then the assassination of Dr. Martin Luther King, Jr. in 1968. Those involved in the changes spreading across America, known as Black Nationalism or the
Black Power Movement
, broke into two primary branches--Revolutionary Nationalists, which included such groups as the Black Panther Party, and Cultural Nationalists, which includes the Black Arts Movement.
The expression of the Black Power Movement was evident in several ways: changes in clothing styles (dashikis, for example) adopted among several black groups, more vocal involvement in politics, and more outspoken tones in and topics of writing, speeches, and the plastic arts (sculpture and painting).
Though the Black Arts Movement began in Harlem, it quickly spread to many cities around the country. Numerous African-American magazines, publishing houses, and journals flourished during this time, such as
Negro Digest, Black World
, Third World Press,
The Black Scholar
, and Lotus Press, among others. Poetry was the predominant form of writing within this movement, but not exclusively--short stories, drama, essay, plays, and music were also key to the content of this era.
The Black Arts Movement was not without controversy. The content of its works is often cited as homophobic, exclusive, misogynistic, and anti-Semitic in favor of black identity.
The Black Arts Movement’s influence began to fade as the result of an unlikely source--success. As members such as James Baldwin, Maya Angelou, and Nikki Giovanni, among others, became popular and even wealthy as the result of the works they also became mainstream, which was an unforeseen consequence counter to the basis of the movement itself.
Recovering the History of African Americans
Attempts to recover and recognize the history of African Americans was part of the Black Power Movement. This is seen in African Americans who changed their birth names to African names. Born as Leroi Jones, Amiri Baraka, for example, changed his name in 1964. Stokely Carmichael became Kwame Ture. In Alice Walker's short story "Everyday Use," Dee returns home with the name Wangero.
Attitudes and actions that before the 1960s might have been kept private became more overt, which is evident in the essays defining the Black Arts Movement. Richard Wright's comments about African-American writers in his 1937 essay "Blueprint for Negro Writing" were no longer true. In that essay, Wright discussed black writers who "dressed in the knee-pants of servility" as they went "abegging to white America" for approval. He notes, "Negro writing was something external to the lives of educated Negroes themselves."
Instead, the arts in the 1960s were more aligned with what Du Bois wrote in 1926, when he call.
The Harlem Renaissance was an important cultural movement in the 1920s-1930s that allowed African American art, music, and literature to flourish. It gave black artists and intellectuals an opportunity to express themselves and be heard by both black and white audiences. Key figures like W.E.B. Du Bois and Marcus Garvey helped establish organizations that advocated for civil rights and black empowerment. The Harlem Renaissance inspired pride in African American culture and helped legitimize black artistic expression through mediums such as jazz, poetry, novels, and visual art.
The Chicago Renaissance turn of 20th c.-1960s(ish)a ga.docxmamanda2
The Chicago Renaissance: turn of 20th c.-1960s(ish)
“a gathering of writers, a flowering of institutions that supported and guided them, and the outpouring of writing they produced”
http://www.encyclopedia.chicagohistory.org/pages/257.html
*
Chicago in the 1890s—Setting the Stage for the Renaissance
*
Historical significance of the World's Columbian Exposition
The second half of the 19th century was an age of fairs and expositions held in London, Paris, and other great cities throughout the world. The World's Columbian Exposition, held in Chicago in 1893, was the first critically and economically successful U.S. world's fair. Conceived as a celebration of the 400th anniversary of Columbus' landing in the new world, the Exposition held a near-mythological appeal for people of the time.
The Columbian Exposition showcased a city just 60 years old, a city magnificently reborn just 22 years after the Chicago Fire. It also placed before the world the genius of Chicago architects Daniel Burnham, Frederick Law Olmsted, and Louis Sullivan. In effect, the Columbian Exposition was Chicago's debut on a world stage as a locus of great architecture and burgeoning economic power.
http://columbus.gl.iit.edu/index.html
*
"The exterior of the gigantic bubble of glass and iron that rises over the central pavilion of Horticultural Hall has already been shown in these plates, and here we are admitted into the luxurious tropical garden that flourishes in the interior. Here in a great space of light and air may be seen a miniature mountain covered with strange foliage and with a little stream dashing down its sides, great tubs of palms and tree ferns, bamboos, century plants, "elk horns," a miniature Japanese garden, bridges and all, and shady, inviting nooks, in which the tourisht may find picturesque rest - much as the painter has here shown." Art & Architecture (the White City Edition)
*
The Chicago Defender, 1905
The Chicago Defender, which was founded by Robert S. Abbott on May 5, 1905, once heralded itself as "The World's Greatest Weekly." The newspaper was the nation's most influential black weekly newspaper by the advent of World War I, with more than two thirds of its readership base located outside of Chicago.
As a northern paper, The Defender had more freedom to denounce issues outright, and its editorial position was very militant, attacking racial inequities head-on. The Defender did not use the words "Negro" or "black" in its pages. Instead, African Americans were referred to as "the Race" and black men and women as "Race men and Race women.“
During World War I The Chicago Defender waged its most aggressive (and successful) campaign in support of "The Great Migration" movement. This movement resulted in over one and a half million southern blacks migrating to the North between 1915-1925.
*
,
Richard Wright, born 1908
Native Son, 1940
Black Boy, 1945
*
Harriet Monroe and Poetry, 1912
The word "Imagiste" a.
The document provides an overview of the authors and readings for week 3, which focus on exclusion from the American Dream. It discusses Native American, African American, and post-colonial literature. For the Native American section, it introduces Tecumseh, Zitkala-Sa, and Sherman Alexie and their works dealing with resistance to colonization and navigating between cultures. For African American literature, it discusses themes of oppression and reclaiming identity in the works of Harriet Jacobs, Frederick Douglass, and Ralph Ellison.
This document discusses the history of subaltern studies and voices from marginalized groups being included in historical accounts. It outlines how scholars have increasingly studied history "from below" to document the perspectives and protests of ordinary and oppressed people. Subaltern Studies began in the late 1970s as conversations between historians led to a journal and book series that brought attention to the subjugated voices that had long been excluded from mainstream historical narratives. The field has grown significantly since then in terms of publications, authors, and international influence across academic disciplines.
Media Popular Culture, and the American CenturyKate Doronina
Edited by Kingsley Bolton and Jan Olsson,
Sweden, 2010
Introduction: Mediated America: Americana as Hollywoodiana
Part 1: Cinema and Americanization
Part 2: Americans at the Margins
Part 3: American Dreams/American Nightmares
Part 4: America Goes Digital
The document provides an overview of literature related to slavery and freedom in the United States. It discusses early slave narratives written by former slaves like Frederick Douglass and Harriet Jacobs that described the inhumane conditions of slavery. These narratives were an important form of resistance that challenged pro-slavery ideologies and influenced the abolitionist movement. The document also examines how early African American writers used Christian themes to connect the ideals of the Declaration of Independence with the fight for racial equality and an end to the hypocrisy of slavery.
This document provides an overview of Commonwealth literature, including its definition, history, major themes, and writers. It discusses how Commonwealth literature emerged after countries gained independence from Britain but still recognized the British monarch. While it grew in popularity, it also faced criticisms for not being truly international or inclusive of non-English literatures. These shortcomings ultimately led to the development and popularity of postcolonial literature as a separate field of study.
African Americans And An Atlantic World Culture. (2005)Sophia Diaz
This document provides an overview of the field of Atlantic World history and its relationship to African diaspora studies. It discusses how the emergence of the Atlantic World beginning in the 15th century set in motion large-scale migrations of Africans through the transatlantic slave trade. It also notes that while the Atlantic World and African diaspora concepts have different geographical scopes, both approaches now recognize Africans as active agents rather than just victims of historical forces. The document uses several sources to illustrate how perspectives on Africans' roles have changed from earlier Eurocentric works to current scholarship that emphasizes Africans' agency within the Atlantic World.
This document provides an overview of American modernism between 1910-1945. It discusses how modernism in literature emerged in response to industrialization and the rise of big business in the late 19th/early 20th century. Major modernist authors like T.S. Eliot and Ezra Pound rejected cultural traditions and sought new influences. The 1913 Armory Show in New York introduced Americans to modern art like Picasso and Kandinsky. Modernist works were fragmented and difficult to access initially. World War I furthered the disillusionment of the modern era through new technologies of destruction.
The Genesis of Pan-Africanism: A Historical PerspectiveAJHSSR Journal
ABSTRACT: Pan-Africanism is a movement to secure human rights, self-government, independence, and unity
for all African peoples. The spirit of solidarity and collaboration among African societies is ages old, fading and
flourishing from one century to the next. Pan-Africanism emerged once again at the end of the eighteenth century
as an anti-slavery and anti-colonial movement. Its appeal was both indigenous and international. Africans saw
their land invaded by European powers, a scenario that sparked resistance. The African struggle for freedom
coincided with anti-slavery sentiments in Europe and America, among other regions. In its original form, PanAfricanism had a wider scope than the geographic continent. It encompassed the African diaspora and descendants
worldwide. Seeking to unify the African people into a single community, Pan-Africanism grew and changed over
time, each century adding to its richness and passing on its legacy to the next. An ethnic, economic, political, and
social mosaic, Africa has struggled with an ambition for a united continent while at the same time being conscious
of the deep divisions within her borders. Along with the vision of oneness are the conflicting demands by Africa’s
sovereign states and regions, involving a mix of stakeholders—policymakers, national legislatures, and citizens
of independent countries. Still, for all its twists and turns, the movement embodies a vision of Africa liberated and
united, right up to the present day.
The Harlem Renaissance was a cultural movement in the 1920s centered in Harlem, New York that celebrated African American culture and identity. Key figures like Langston Hughes, Alain Locke, and W.E.B. Du Bois promoted the idea of the "New Negro" who took pride in their African heritage and demanded equal treatment. During this period, Harlem became a center of African American artistic, social, and intellectual life that produced many influential black writers, musicians, poets, and thinkers. The Harlem Renaissance helped establish modern African American literature and cultural traditions.
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Arthur Alfonso Schomburg-A Self Educated Scholar
1. Page 1 of 6
Arthur Alfonso Schomburg
“Another indication of the direct and indirect mentoring process is found in the works of the various self-educated
scholars. David Walker praised the teachings of his elder, Reverend Richard Allen. (12) Maria Stewart and Henry
Highland Garnet in turn evoked the example of David Walker. (13) The mentoring chain can be found in the
reflections of Arthur Schomburg who was inspired by John Bruce and Alexander Crummell. (14) John Henrik
Clarke was in turn mentored by Schomburg. (15)” From: John Henrik Clarke: the Harlem connection to the
founding of Africana Studies...
John Henrik Clarke: the Harlem connection to the founding of Africana Studies, Carruthers, Jacob H
Arthur Alfonso Schomburg
2. Page 2 of 6
Hypertext
Arthur Alfonso Schomburg ....................................................................................................................... 1
Independence advocate ................................................................................................................................. 3
Marriage and family ...................................................................................................................................... 3
Career ............................................................................................................................................................ 3
The Negro Society for Historical Research .................................................................................................. 4
The Schomburg Collection of Negro Literature and Art .............................................................................. 4
Later years..................................................................................................................................................... 5
Legacy ........................................................................................................................................................... 5
References ..................................................................................................................................................... 5
Links ............................................................................................................................................................. 6
From Wikipedia, the free encyclopedia
Arturo Alfonso Schomburg
Arturo Alfonso Schomburg Born January 24, 1874
Santurce, Puerto Rico Died June 8, 1938
Brooklyn, New York Nationality Puerto Rican Political movement Harlem
Renaissance movement Spouse Elizabeth Morrow Taylor Notes
----------------------------------------------------
Arturo Alfonso Schomburg, a.k.a. as Arthur Schomburg, (January 24, 1874 –June 8, 1938), was
a Puerto Rican historian, writer, and activist in the United States who researched and raised
awareness of the great contributions that Afro-Latin Americans and Afro-Americans have made
to society. He was an important intellectual figure in the Harlem Renaissance. Over the years, he
collected literature, art, slave narratives, and other materials of African history, which was
purchased to become the basis of the Arthur Schomburg Center for Research in Black Culture,
named in his honor, at the New York Public Library branch in Harlem.
Arthur Alfonso Schomburg
3. Page 3 of 6
Schomburg was born in the town of Santurce, Puerto Rico (now part of San Juan) to María
Josefa, a freeborn black midwife from St. Croix, and Carlos Féderico Schomburg, a merchant of
German heritage.
While Schomburg was in grade school, one of his teachers claimed that blacks had no history,
heroes or accomplishments. Inspired to prove the teacher wrong, Schomburg determined that he
would find and document the accomplishments of Africans on their own continent and in the
diaspora, including Afro-Latinos, such as Jose Campeche, and later Afro-Americans. Schomburg
was educated at San Juan's Instituto Popular, where he learned commercial printing. At St.
Thomas College in the Danish-ruled Virgin Islands, he studied Negro Literature.[1]
Independence advocate
Schomburg immigrated to New York on April 17, 1891 and settled in the Harlem section of
Manhattan. He continued his studies to untangle the African thread of history in the fabric of the
Americas. After experiencing racial discrimination in the US, he began calling himself
"Afroborinqueño" which means "Afro-Puerto Rican".[1]
He became a member of the "Revolutionary Committee of Puerto Rico". He took an active role
advocating Puerto Rico's and Cuba's independence.[1][2]
Marriage and family
On June 30, 1895 Schomburg married Elizabeth Hatcher of Staunton, Virginia. She had come to
New York as part of a wave of migration from the South that would increase in the 20th century
and be known as the Great Migration. They had three sons: Maximo Gomez; Arthur Alfonso, Jr.
and Kingsley Guarionex Schomburg.[2]
After Elizabeth died in 1900, Schomburg married Elizabeth Morrow Taylor of Williamsburg,
North Carolina. They were married on March 17, 1902 and had two sons: Reginald Stanton and
Nathaniel José Schomburg.[2]
Career
In 1896, Schomburg began teaching Spanish in New York. From 1901 to 1906 Schomburg was
employed as messenger and clerk in the law firm of Pryor, Mellis and Harris, New York City. In
1906, he began working for the Bankers Trust Company. Later, he became a supervisor of the
Caribbean and Latin American Mail Section, and held that until he left in 1929.
While supporting himself and his family, Schomburg began his intellectual work of writing
about Caribbean and African-American history. His first known article, "Is Hayti Decadent?",
was published in 1904 in The Unique Advertiser. In 1909 he wrote Placido, a Cuban Martyr, a
short pamphlet about the poet and independence fighter Gabriel de la Concepción Valdéz.[2]
Arthur Alfonso Schomburg
4. Page 4 of 6
The Negro Society for Historical Research
In 1911, Schomburg co-founded with John Edward Bruce the Negro Society for Historical
Research, to create an institute to support scholarly efforts. For the first time it brought together
African, West Indian and Afro-American scholars. Schomburg was later to become the President
of the American Negro Academy, founded in Washington, DC in 1874, which championed black
history and literature.
This was a period of founding of societies to encourage scholarship in African American history.
In 1915, Dr. Carter G. Woodson co-founded the Association for the Study of Negro Life and
History (now called the Association for the Study of African American Life and History) and
began publishing the Journal of Negro History.
Schomburg became involved in the Harlem Renaissance movement, which spread to other
African-American communities in the U.S. The concentration of blacks in Harlem from across
the US and Caribbean led to a flowering of arts, intellectual and political movements. He was the
co-editor of the 1912 edition of Daniel Alexander Payne Murray's Encyclopedia of the Colored
Race.
In March 1925 Schomburg published his essay "The Negro Digs Up His Past" in an issue of the
Survey Graphic devoted to the intellectual life of Harlem. It had widespread distribution and
influence. The autodidact historian John Henrik Clarke told of being so inspired by the essay that
at age seventeen he left home in Columbus, Georgia to seek out Mr. Schomburg to further his
studies in African history. Alain Locke included the essay in his edited collection The New
Negro.[3]
The Schomburg Collection of Negro Literature and Art
After the New York Public Library (NYPL) purchased his extensive collection of literature, art
and other materials in 1926, they appointed Schomburg curator of the Schomburg Collection of
Negro Literature and Art, named in his honor, at the 135th Street Branch (Harlem) of the
Library. It was later renamed the Arthur Schomburg Center for Research in Black Culture.[4]
Between 1931 and 1932 Schomburg served as Curator of the Negro Collection at the library of
Fisk University, Nashville, Tennessee, helping direct their acquisition of materials. During 1932
he traveled to Cuba. While there he met various Cuban artists and writers, and acquired more
material for his studies.
He was granted an honorary membership of the Men's Business Club in Yonkers, New York. He
also held the position of treasurer for the Loyal Sons of Africa in New York and was elevated
being the past master of Prince Hall Lodge Number 38, Free and Accepted Masons (F.A.M.) and
Rising Sun Chapter Number 4, R.A.M.
Arthur Alfonso Schomburg
5. Page 5 of 6
Later years
Following dental surgery, Schomburg became ill and died in Madison Park Hospital, Brooklyn,
New York on June 8, 1938. He was buried in Cypress Hills Cemetery in Brooklyn.[2]
Legacy
By the 1920s Schomburg had amassed a world-renowned collection which consisted of artworks,
manuscripts, rare books, slave narratives and other artifacts of Black history.[5] In 1926 the New
York Public Library purchased his collection for $10,000 with the help of a grant from the
Carnegie Corporation. The collection formed the cornerstone of the Library's Division of Negro
History at its 135th Street Branch in Harlem. The library appointed Schomburg curator of the
collection, which was named in his honor: the Arthur Schomburg Center for Research in Black
Culture. Schomburg used his proceeds from the sale to fund travel to Spain, France, Germany
and England, to seek out more pieces of black history to add to the collection.[6] In 2002, scholar
Molefi Kete Asante named Schomburg to his list of 100 Greatest African Americans.[7]
To honor Schomburg, Hampshire College awards a $30,000 merit-based scholarship in his name
for students who "demonstrate promise in the areas of strong academic performance and
leadership at Hampshire College and in the community."[8]
Arturo Alfonso Schomburg's work served as an inspiration to Puerto Ricans, Latinos and Afro-
Americans alike. The power of knowing about the great contribution that Afro-Latin Americans
and Afro-Americans have made to society, helped continuing work and future generations in the
Civil rights movement.[5]
Puerto Rican literature
List of Puerto Ricans of African descent
Black history in Puerto Rico
References
1. Robert Knight, "Arthur Alfonso 'Afroborinqueno' Schomburg", History Notes, Global
African Community, accessed 2 Feb 2009
2. "Arturo Alfonso Schomburg: Pionero en la historia afronorteamericana", Nuestro
Mondo/People's Weekly World, accessed 2 Feb 2009
3. Arthur Schomburg, "The Negro Digs Up His Past", The Survey Graphic, Harlem: March
1925, University of Virginia Library, accessed 2 Feb 2009
4. Schomburg Studies on the Black Experience, New York Public Library
5. The Arthur A. Schomburg Papers
6. NYPL, Schomburg Center for Research in Black Culture
7. Asante, Molefi Kete (2002). 100 Greatest African Americans: A Biographical
Encyclopedia. Amherst, New York. Prometheus Books. ISBN 1-57392-963-8.
8. http://www.aie.org/Scholarships/?StartRow=241&q=performance&SearchType=1
Arthur Alfonso Schomburg
6. Page 6 of 6
Links
Schomburg Studies on the Black Experience
Schomburg (Arthur A.) Papers, 1724-1895 (1904-1938), New York Public Library
"Schomburg Center for Research in Black Culture", New York Public Library
"The Arthur A. Schomburg Papers"
"Schomburg Museum", Kappa Alpha Psi history
Arthur Alfonso Schomburg